Lib. 


t^/iUy^U-^     J^  •     Ar>^^^-^t>-^ 


Petruchio  :      "  Why,  what,  o'  devil's  name,  tailor,  call'st  thou  this  ?  " 
The  Taming  of  the  S    hew  Ac^  IV  Scene  3 


Copyright,    19QI 

By 

THE    UNIVERSITY    SOCIETY 


COLLEG 
LIBRARY 

PR 

THE   TAMING   OF   THE   SHREW,    /q  / 

Preface. 

The  Editions.  The  Taming  of  The  Shrezv  was  first 
printed  in  the  First  Folio,  A  Quarto  edition  appeared  in 
1631,  with  the  following  title-page: — 

*'  A  wittie  and  pleasant  Coniedie  called  the  Taming  of 
the  Shrezi'.  As  it  was  acted  by  His  Majesties  servants  at 
The  Blacke  Friers  and  the  Globe.  Written  by  Will, 
Shakespeare,  London.  Printed  by  W,  S.  for  lohn 
Sniethzi'icke,  and  are  to  be  sold  at  his  shop  at  Saint  Dun- 
stones  Churchyard  under  the  Diall.     1631." 

This  Quarto  was  certainly  printed  from  the  Folio; 
Smethwicke  (or  Smythick)  was  one  of  the  publishers  of 
the  latter,  and  to  him,  moreover,  there  was  transferred,  on 
Nov.  19th,  1607,  an  old  play  called  The  Taming  of  A 
Shrezi',  which  had  been  previously  issued  in  1594,  1596, 
and  1607,  by  different  owners.  It  would  seem  that 
Smythick,  in  1631,  issued  the  Quarto  of  'The  Shrezv' 
instead  of  'A  Shrezi'/  the  copyright  of  which  he  had  se- 
cured. 

The  Taming  of  A  Shrew.  The  old  original  of  The 
Taming  of  The  Shrezv  is  extant,  and  has  been  often  re- 
printed in  modern  times  {cp.  Steevens'  Six  Old  Plays, 
1776;  The  Shakespeare  Society  publications,  1S44;  Haz- 
litt's  Shakespeare's  Library,  &c.).  The  play  was  first 
published,  anonymously,  in  1594,  under  the  title  of  'A 
pleasant  conceited  Historic,  called  The  taming  of  A 
Shrezv,  as  it  zuas  sundry  times  acted  by  the  Earl  of  Pcni- 
brook  his  servants.'  (A  specimen  of  the  play  will  be 
found  at  the  back  of  the  title-page  of  this  volume.)  Pope 
actually  attributed  this  crude  effort  to  Shakespeare  him- 


Preface  THE  TAMING 

self;  Mr.  Fleay  assigns  it  to  Shakespeare  and  ^Marlowe 
— their  joint-production  in  1589 — and  various  similar  sug- 
gestions have  been  made  by  critics.  We  know  absolutely 
nothing  about  its  authorship,  but  we  may  safely  assert  that 
it  contains  no  single  line  from  Shakespeare's  pen.  It  is 
an  important  document,  though  its  intrinsic  value  is 
naught.  Its  affected  classicism,  its  poetic  rant,  its  cheap 
lyrism,  its  strange  mixture  of  hyperbole  and  bathos,  all 
indicate  that  the  play  was  the  work  of  some  poetaster  of 
the  pseudo-Marlowan  school,  writing  about  the  year 
1590-2. 

The  Date  of  Shakespeare's  Adaptation.  The  Taming 
of  The  Shreiv  is  not  mentioned  by  Mertes  in  1598 ;  unless, 
as  seems  unlikely,  it  is  to  be  identified  with  Loves  Labour 
Won.  Nevertheless  the  internal  evidence  points  to  an 
early  date.  Mr.  Stokes  contends  that  even  '  as  far  back 
as  May,  1594,  TJie  Taming  of  a  Shrezv  was  believed  to  be 
Shakespeare's  in  some  sense'  {cp.  Chronology  of  Shake- 
speare's Plays,  pp.  33-35)- 

Its  omission  by  Meres  is  not  very  singular,  when  the 
possible  history  of  Shakespeare's  connexion  with  his  origi- 
nal is  considered.*  It  is  very  possible  that  an  enlarged 
version  of  the  play  once  existed  intermediate  between  '  A 
Shrezi',  and  the  play  as  we  have  it  in  First  Folio ;  Shake- 
speare in  fact  seems  mainly  answerable  for  the  revision 
of  the  Induction  and  scenes  in  which  Katharina,  Pe- 
truchio,  and  Grumio  are  the  prominent  figures.  The  in- 
termediate adapter  knew  his  Marlowe  well ;  no  less  than 
ten  Marlowan  reminiscences  may  be  detected  in  the  non- 
Shakespearian  portion  of  '  The  Shrezv.' 

These  considerations  make  it  difficult  to  assign  a  date  to 
the  play ;  on  the  one  hand,  there  are  the  alleged  non- 
Shakespearian  portions  of  the  play ;   on  the  other,  Shake- 

*  Meres  mentions  King  John,  though  also  an  adaptation  of  an 
older  play;  but  the  re-cast  of  his  original  was  altogether  of  a  dif- 
ferent nature  than  in  the  case  of  '  The  Shrezv.'  One  should  note, 
loo,  the  mention  of  Titus,  and  the  omission  of  i,  2,  3  Henry  VL 


OF  THE  SHREW  Preface 

speare's  own  work  belonging  to  different  periods.  The 
style  and  versification  of  the  more  characteristic  parts 
point  to  about  1597,  while  the  doggerel  and  quibbles  sug- 
gest an  early  date. 

At  one  time  we  are  reminded  of  Adriana,  Luciana,  and 
the  Dromios  of  The  Comedy  of  Errors;  at  another,  of 
Hotspur,  Kate,  and  Falstaff  of  Henry  IV:^  Hence  the 
play  is  dated  by  some  1594,  by  others  1596-7;  while  cer- 
tain critics  assign  it  to  the  years  1601-3.  (It  is  perhaps 
significant  that  Dekker's  Patient  Grissel  was  produced  in 
1597,  and  his  Medicine  for  a  Curst  Wife  soon  after  (pub- 
lished in  1602.) 

Shakespeare's  Share  in  the  Play.  As  regards  the  In- 
duction, opinion  is  divided ;  but  a  careful  comparison 
of  the  two  versions  leaves  little  doubt  that  the  revision 
was  Shakespeare's.  Act  I.  is  almost  unanimously  as- 
signed to  the  unknown  adapter.  Act  II.  i.  is  only  partly 
Shakespeare's ;  the  Shakespearian  portion  has  been  vari- 
ously assigned: — 11.  169-326;  115-326,  with  the  omission 
of  11.  241-254;  115-326.  Act  III.  I.  may  be  safely  pro- 
nounced non-Shakespearian.  Act  III.  ii.  is  claimed  for 
Shakespeare,  with  the  exception  of  11.  130-150,  or  pos- 
sibly of  11.  1-88,  126-185.  Act  lY.  I.  iii.  V.  are  throughout 
Shakespeare's,  while  Act  IV.  ii.  iv..  Act  V.  i.  are  simi- 
larly throughout  non-Shakespearian.  Act  V.  Ii.  1-175  (or 
1-181),  certainly  Shakespeare.  {Cp.  Fleay's  Shake- 
speare Manual,  p.  185;  Furnlvall,  Trans.  Nezv  Shake- 
speare Society,  1874;  Tolman,  Modern  Language  Asso- 
ciation of  America,  1890.) 

*  The  only  valuable  piece  of  internal  evidence  puts  us  in  the 
same  dilemma :  in  the  first  Scene  of  the  Induction,  line  88  is  as- 
signed to  '  Sinklo,'  in  the  Folio;  '  Sinklo  '  acted  in  3  Henry  VI.. 
an  early  play.  r\nd  2  Henry  /F.  {c.  1597.  8)  :  in  the  former  his 
name  appears  instead  of  'a  keeper';  in  the  latter  instead  of  'a 
beadle.' 

['  Nicke,'  the  messenger,  mentioned  In  Act  I.  i,  probably  stands 
for  Nicholas  Tooley,  one  of  the  actors  in  Shakespeare's  company ; 
but  nothing  is  to  be  inferred  from  this  point.] 


Preface  THE  TAMING 

*  The  Shrew '  and  *  A  Shrew ' :  some  noteworthy  Va- 
riations, (i.)  The  old  play  has  been  thoroughly  trans- 
formed as  far  as  diction  and  characterisation  is  concerned, 
though  the  plot  has  been  on  the  whole  faithfully  followed, 
(ii.)  The  part  of  Sly  has  been  considerably  curtailed  in 
*  The  Shrezv '  ;*  in  the  original  we  are  throughout  re- 
minded of  his  existence,  and  he  is  disposed  of  at  the  end 
of  the  play  : — "  Then  enter  two  bearing  off  Sly  in  his  own 
apparell  again,  and  leave  him  where  they  found  him,  and 
then  goe  out.  Then  enter  the  Tapster."  An  amusing 
colloquy  follows.  Sly  explains  that  he  has  had  '  the  bra- 
vest dream  that  ever  thou  heardest  in  all  thy  life,'  &:c.  (iii.) 
Further,  the  scene  of  action  has  been  changed  from 
'Athens'  to  'Padua.'  (iv.)  The  vulgar  and  mercenary 
tyrant  '  Ferardo '  has  given  place  to  the  '  whimsical  and 
boisterous  affectations  of  the  good-natured  Petruchio.* 
(v.)  Kate  in  'A  Shrezv'  has  two  sisters,  Philema  and 
Emilia,  represented  by  Bianca  (and  the  widow  whom 
Hortensio  ultimately  weds)  in  '  The  Shrezv/  (vi.)  The 
plot  of  the  old  play  has  been  rendered  more  complex  by 
the  addition  of  a  comedy  of  intrigue — viz.,  the  story  of 
Bianca  and  Lucentio. 

The  Sources,  (i.)  The  Induction.  The  idea  of  the 
Induction  is  thoroughly  oriental,  and  is  familiar  to  readers 
of  the  '  Arabian  Nights'  whence  it  probably  passed  into 
European  literature.  It  is  said  that  a  similar  incident  ac- 
tually took  place  at  the  marriage  of  Duke  Phillip  the  Good 
of  Burgundy,  about  the  year  1440.  Perhaps  the  good 
Duke  Phillip  was  wishful  to  emulate  the  example  of  the 
good  Caliph  Haroun  Al  Raschid.  The  pedigree  of  the 
chief  English  versions  of  this  world-wide  story,  drama- 
tised by  Chalderon  in  his  'La  Vida  es  Siieno  {'Life's  a 
Dream'  c.  1633),  probably  from  Rojas'  '  Viaje  Entre- 
tenido'  is  perhaps  as  follows : — 

*  From  an  artistic  point  of  view,  Sly's  comments  at  the  end  of 
Act  I.  i.  seem  quite  out  of  place,  and  are  certainly  not  Shake- 
speare's. 


OF  THE  SHREW 


Preface 


The  Arabian  Nights  :    '  The  Sleeper  Aivakened.'' 

Heuterus  de  Rebus  Burgundicis  [from  an  Epistle  of  Ludo'vicus  Vfves). 
I 


English  Version  in  Richard  Ed'ward''s 
Collection  of  Tales  (1570,   and  later'). 


Induction  :   A  Shreiv. 
Induction  :    The  Shreiv. 


Barkley's  Discourse  on 
The  Felicitie  of  Man 


I 
Ballad  of  The 
Frolicsome  Duke, 

or  the  Tinker'' s 

Good  Fortune     Goulart^  Tresor 


{Percy's 

ReliqueSy 
?  Date). 


Burton's  Anatomy  of 
Melancholy  (1621). 


d'histoires  admirables 

et  mar-veilleuses 

(c.  1600). 

English  Version  by 
Grimston  (1607). 


(ii.)  The  Main  Plot.  The  nearest  analogue  in  Eliza- 
bethan literature  to  The  Taming  of  the  Shrezv  is  to  be 
found  in  a  popular  poem  entitled,  '  A  Merry  Geste  of  a 
Shrezi'd  and  Curst  Wife  in  lapped  Morrelles  Skin'^  (he- 
fore  1575),  but  this  poem  cannot  be  considered  the  direct 
source  of  the  play.  Several  similar  stories  are  to  be 
found  in  Italian  literature ;  perhaps  the  most  noteworthy 
is  to  be  found  in  the  Notte  piacevoli  of  Straparolo,  VIII. 
2  (pubHshed  in  1550). 

(iii.)  The  Under  Plot.  The  story  of  Bianca  and  her 
lovers  was  taken  directly  from  Acts  IV.  and  V.  of  Gas- 
coigne's  Supposes  (an  English  version  of  Ariosto's  Gli 
Siippositi),  the  first  English  prose  comedy,  acted  at  Gray's 
Inn,  1566.1 

(iv.)  The  Latin  Lesson.      This  element  (Act  III.  i.) 

*  Printed,  together  with  the  Taming  of  A  Shrew,  in  the  (old) 
Shakespeare's  Society's  pubHcation. 

t  From  this  same  source,  too,  the  name  '  Petruchio '  was,  per- 
haps, derived. 

5 


Preface  THE  TAMING 

may  have  been  suggested  by  a  passage  in  an  old  play,  The 
Three  Lords  and  Three  Ladies  of  London,  printed  1590 
(Hazlitt's  Dodsley's  Old  Play,  VI.  500). 

The  Duration  of  Action.  According  to  Mr.  Daniel's 
analysis,  five  or  six  days  are  represented  on  the  stage, 
with  intervals,  which  amount  to  something  under  a  fort- 
night. 

Day  I.  Act  I.  Day  2.  Act  II.  Interval  of  a  day  or 
two.  Petruchio  proposes  to  go  to  Venice  to  buy  apparel. 
Day  3.  Act  III.  i.  Saturday,  eve  of  the  wedding.  Day 
4.  Act  III.  ii. ;  Act  IV.  i.  Sunday,  the  wedding-day. 
Interval  (?).  Day  5.  Act  IV.  ii.  ^Interval  (?).  Day 
6.  Act  IV.  iii.,  iv.,  v.,  and  Act  V.  (  ?  The  second  Sunday). 

Possibly  Acts  I.  and  II.  should  be  considered  as  one 
day.  "  Time,  however,"  adds  Mr.  Daniel,  "  in  this  play 
is  a  very  shppery  element,  difficult  to  fix  in  any  com- 
pletely consistent  scheme.  In  the  old  play  the  whole  story 
is  knit  up  in  the  course  of  two  days."  (Trans,  of  New 
Shakespeare  Society,  1877-79,  p.  168). 

The  Tamer  Tamed.  Fletcher  attempted  a  companion 
picture  to  the  '  Taming  of  the  Shrew'  in  his  '  IVoman's 
Prize,  or  the  Tamer  Tamed'  (written  before  1633)  ;  in 
this  play  we  are  introduced  to  our  old  friend  Petruchio 
again,  but  Katharina  is  dead  and  '  eke  her  patience,'  and 
in  her  place  we  are  introduced  to  her  successor,  Maria, 
the  '  masculine  '  daughter  of  Petronius,  who  tries  a  proc- 
ess of  taming  on  her  own  account,  aided  by  faithful  allies, 
to  wit,  her  sister  Livia,  her  cousin  and  '  Commander-in- 
chief  '  Bianca,  '  city  wives,'  '  county  wives,'  &c.  In  the 
end  Petruchio  confesses  himself,  in  more  senses  than  one, 
'  born  again,'  and  the  Epilogue  sums  up  as  follows  : — 

'  The  Tamer's  Tamed;  hut  so,  as  nor  the  men 
Can  -find  one  just  cause  to  complain  of,  when 
They  fitly  do  consider,  in  their  lives 
They  should  not  reign  as  tyrants  o'er  their  wives 


OF  THE  SHREW  Preface 

Nor  can  the  women  from  this  precedent 

Insult,  or  triumph;  it  being  aptly  meant, 

To  teach  both  sexes  due  equality, 

And  as  they  stand  hound  to  love  mutually. 

If  this  effect  arising  from  a  cause 

Well  laid  and  grounded  may  deserve  applause. 

We  something  more  than  hope  our  honest  ends 

Will  keep  the  men,  and  women  too,  our  friends.' 


THE  TAMING 


Critical  Comments. 
I. 

Argument. 

Induction.  A  tinker  named  Christopher  Sly  is  found 
in  a  drunken  stupor  by  a  lord,  who,  to  make  sport, 
causes  him  to  be  conveyed  to  the  castle,  clothed  in  the 
costliest  apparel  and  placed  in  the  richest  bed.  Upon 
awakening-  Sly  finds  himself  surrounded  by  attendants 
who  persuade  him  that  he  is  a  nobleman  who  for  many 
years  has  been  mentally  deluded.  And  in  his  honour  the 
following  play  is  presented  : — 

I,  Baptista,  a  rich  gentleman  of  Padua,  has  two 
daughters,  Katharina  and  Bianca.  The  latter,  because  of 
her  gentleness  and  charm,  has  numerous  admirers.  But 
her  father  refuses  to  listen  to  any  of  them  until  her  elder 
sister  is  married,  which  event  seems  doubtful  on  account 
of  Katharina's  shrewish  disposition.  The  several  lovers 
of  Bianca  are  in  despair  until  the  advent  of  a  peculiar 
Veronese  gentleman,  Petruchio,  whose  hasty  tempera- 
ment seems  well  suited  to  the  shrew. 

Among  Bianca's  admirers  is  Lucentio,  a  native  of  Pisa, 
who  decides  to  disguise  himself  and  engage  with  Bap- 
tista as  tutor  for  Bianca,  giving  over  his  proper  name  and 
rank  to  Tranio,  his  servant. 

II.  Tranio  sues  as  Lucentio  for  Bianca's  hand,  while 
the  real  Lucentio  obtains  the  position  as  tutor,  intending 
thus  to  try  to  win  her  covertly.  In  the  meantime,  Petru- 
chio obtains  Baptista's  willing  consent  to  his  suit  for 
Katharina,  and  woos  her  in  singular  fashion,  overriding 


OF  THE  SHREW  Comments 

all  her  harshness  and  disdain  with  the  abrupt  declaration 
that  they  shall  be  married  on  the  next  Sunday. 

III.  At  the  appointed  time  the  wedding-party  assem- 
bles without  the  bridegroom.  But  he  appears  after  an 
interval  clad  in  most  incongruous  apparel,  which  he  per- 
sists in  wearing  to  the  church — despite  the  open  disap- 
proval of  the  party — declaring :  "  To  me  she  's  married, 
not  unto  my  clothes."  Immediately  after  the  ceremony  he 
departs  for  home  with  Katharina,  not  even  tarrying  for 
the  wedding-feast,  although  his  bride  first  entreats  and 
then  storms. 

IV.  At  his  country-house  Petruchio  treats  Katharina 
rigorously,  while  pretending  to  be  assiduous  in  his  care 
of  her.  She  gets  very  little  to  eat,  because  he  claims  that 
the  food  is  not  cooked  properly ;  and  the  new  gar- 
ments which  have  been  ordered  for  her  are  re- 
jected, although  she  is  very  well  pleased  with  them. 
He  is  so  harsh  with  the  servants  and  so  dogmatic  in  his 
statements,  that  his  wife  forgets  her  own  arbitrary  dis- 
position in  the  desire  to  keep  his  temper  even.  Finally 
she  becomes  quite  submissive  to  his  will. 

In  Padua  the  fictitious  Lucentio  obtains  Baptista's  con- 
sent to  his  suit  for  Bianca,  while  the  real  Lucentio  suc- 
ceeds in  winning  the  lady.  The  presence  of  Lucentio's 
father  becomes  necessary,  and  Tranio  presses  an  aged 
schoolmaster  into  service  to  play  this  part. 

V.  At  this  juncture  the  real  father  arrives  and  en- 
counters Tranio  in  his  master's  garments.  Tranio  must 
needs  face  it  out  to  gain  time  for  Lucentio,  and  is  on  the 
point  of  causing  the  arrest  of  the  father,  when  Lucentio 
and  Bianca  arrive  as  man  and  wife.  Mutual  explana- 
tions follow,  and  the  entire  party  gather  at  a  banquet  at 
Lucentio's  home  in  Padua.  Katharina  and  Petruchio  are 
among  the  guests.  After  the  feast  is  over  and  the  ladies 
have  withdrawn  into  another  room,  the  gentlemen  dis- 
cuss obedience  as  a  wifely  virtue,  and  the  opinion  is  ex- 
pressed that  Petruchio's  wife  must  be  "  the  veriest  shrew 
of  all."     A  wager  is  made,  and  to  the  surprise  of  all, 


Comments  THE  TAMING 

Katharina  shows  herself  to  be  more  gentle  and  yielding 
than  Bianca  or  another  bride  there  present. 

McSpadden  :  Shakespearian  Synopses. 


II. 

Katharina. 

When  the  play  commences,  Katharina  appears  instated 
in  the  character  of  a  shrew,  rough,  peevish,  petulant,  irri- 
table, and  therefore,  however  she  obtained  the  character, 
in  a  false  position  which  aggravates  itself.  Her  younger 
and  milder  mannered  sister  is  beset  with  suitors,  and  upon 
her  she  vents  her  petulance  in  terms  which  show  how  far 
her  continued  single  state  reacts  upon  the  testiness  that 
already  deprives  her  of  suitors,  and  the  mischief  repro- 
duces itself.  To  such  a  state  of  things  Petruchio  was 
born  to  put  an  end ;  there  is  thus  much  sympathy  between 
the  two  at  starting,  that  well  provided  married  state  is 
their  common  object  with  secondary  interest  in  the  indi- 
vidual to  be  chosen.  The  simple  difficulty  to  be  appre- 
hended of  cross  purposes,  and  repulsion  at  first  en- 
counter, is  happily  obviated  by  positive  determination  to 
take  and  admit  of  nothing  other  than  as  desired ;  and 
accordingly,  after  a  scene  of  the  strangest  pertinacity,  in 
which  Petruchio  mingles  a  fair  proportion  of  flattery 
with  banter  and  defiance,  he  makes  such  progress  that  my 
lady  takes  refuge  in  the  sulks,  and  with  protesting 
grumblings  and  compliant  gestures  she  gives  her  hand 
when  he  asks  for  it  for  the  ceremonious  betrothal,  nay 
without  protesting  or  resisting  so  far  gives  a  parting  kiss 
when  he  asks  it  that  he  takes  it  without  ceremony  and 
then  she  withdraws  silent,  but  by  that  very  token  not  ill 
satisfied. 

We  may  guess  how  far  the  pair  are  suited  when  we 
find  her  still  more  disappointed  than  piqued  when  he  is 
unheard  of  on  the  day  fixed  for  marriage.     He  arrives  at 

10 


OF  THE  SHREW  Comments 

last,  and  rough  as  he  is  and  rudely  accoutred  she  marries 
him  notwithstanding,  and  no  declared  and  obstinate  oppo- 
sition do  we  hear  of  until  they  are  surely  tied.  Then  for 
the  first  time  resistance  openly  appears ;  she  will  stay  for 
the  bridal  dinner  will  he  or  not,  and  now  the  true  con- 
flict and  the  taming  begins.  The  moral  of  the  contest 
proves  merely  this,  that  with  equal  spirit  and  determina- 
tion on  either  side,  the  balance  of  physical  power,  of 
muscular  strength,  of  capability  of  watching,  of  fasting, 
of  enduring  fatigue,  so  far  preponderate  on  the  side  of  the 
husband  that  the  weaker  sex  has  no  chance  in  a  protracted 
opposition  and  must  ultimately  be  wearied  and  tired  out. 
The  matter  however  does  not  rest  there ;  if  we  might  ap- 
ply the  moral  of  the  tale  generally,  Shakespeare  would  be 
an  authority  to  back  the  adage : — 

"  A  spaniel,  a  woman,  and  walnut  tree, 
The  more  you  beat  them  the  better  they  be." 

Katharina  at  last  does  not  remain  in  mere  compelled 
obedience ;  her  very  spirit  is  subdued  to  the  quality  of 
natural  subordination.  With  spaniel-like  subservience 
she  now  turns  on  Hortensio's  widow,  when  she  hints  that 
Petruchio  is  not  absolute,  and  at  last  delivers  a  homily 
with  no  hint  of  insincerity,  on  the  law  of  nature  as  illus- 
trative of  feminine  subjugation  : — 

"  Why  are  our  bodies  soft  and  weak  and  smooth, 
Unapt  to  toil  and  trouble  in  the  world, 
But  that  our  soft  conditions  and  our  hearts 
Should  well  agree  with  our  external  parts?  " 

Lloyd  :  Critical  Essays  on  the  Plays  of  Shakespeare. 

HI. 

Pretruchio. 

Petruchio  is  like  Faulconbridge  in  making  himself  out 
worse  than  he  really  is.     Though  he  declares  his  object 

II 


Comments  THE  TAMING 

is  only  to  wive  wealthily,  and  Grumio  says  he  M  marry 
any  foul  old  hag  with  money,  yet  this  is  plain  exaggera- 
tion. He  's  one  of  those  men  who  like  a  bit  of  devil  in  the 
girl  he  marries  and  the  mare  he  rides.  '*  None  of  your 
namby-pamby  ones  for  me."  He  knows  he  can  tame  her : 
if  she  is  sharp-tempered,  he  is  sharper.  It 's  a  word  and 
a  blow  with  him,  as  Grumio  has  experienced.  When  he 
hears  of  Kate,  he  won't  sleep  till  he  sees  her;  when  she 
comes,  he  takes  the  lead  and  keeps  it.  He  means  to  have 
it  and  her.  He  ridicules  her  in  such  a  pleasant,  madcap 
fashion,  that  one  can  't  help  Hking  him.  He  understands 
women,  and  flatters  her.  Note  the  limping  touch.  He 
praises  her  beauty ;  promises  her  finery ;  keeps  her  wait- 
ing; makes  her  put  up  with  his  dress,  and  tremble  at 
church;  outs  with  his  sword  and  makes  her  go  with  him; 
declares  his  wife's  his  chattel;  leaves  her  horse  on  her 
when  she  falls  during  the  journey,  and  makes  her  beg 
for  Grumio ;  will  give  no  choleric  food  to  choleric  folk ; 
in  fact  he  "  kills  her  in  her  own  humour  ";  tames  her  by 
pretended  love;  starves  her  till  she  thanks  him  for  meat 
he  's  dressed;  and  then whenher food  has  made  her  saucy, 
and  she  rebels  again  about  her  dress  (which  was  indeed 
enough  to  make  the  most  angelic  woman's  temper  rise), 
he  beats  her  in  the  old  way  by  pretending  to  sympathize 
with  her.  Then  he  stops  her  going  home,  because  she 
won't  say  two  is  seven.  When  she  gives  in,  he  no  doubt 
tries  her  too  hardly,  but  then  she  has  tried  him  before, 
and  the  result  is  that  they  two  alone  are  married,  while 
the  other  two,  Hortensio  and  Lucentio,  are  only  ''  sped." 
("Let  us  hope  though,"  says  Miss  Constance  O'Brien, 
"  that  Petruchio  gave  up  choosing  Kate's  dresses  and 
caps.")  If  Petruchio  is  not  a  gentleman,  and  Kate  not 
a  lady,  their  day  differed  from  ours :  they  were  a  happy 
couple,  \VQ  may  be  sure.  Kate  would  obey  him  with  a 
will,  for  her  husband  had  fairly  beaten  her  at  her  own 
game,  and  won  her  respect. 

FuRNivALL :  The  Leopold  Shakspere. 


12 


OF  THE  SHREW  Comments 

IV. 

The  Subordinate  Parts. 

The  subordinate  parts  of  the  play — the  intrigues  of 
Bianca's  suitors  against  one  another,  the  love  affairs  of 
Gremio,  of  Hortensio  and  the  widow,  of  Lucentio  and 
Bianca — are,  as  already  remarked,  but  very  loosely  in- 
terwoven with  the  main  action,  and  thus  stand  opposed 
to  it  in  the  form  of  a  second,  independent  half.  This  is  a 
defect  which  Shakspeare  could,  indeed,  not  very  well  have 
avoided  unless  he  meant  entirely  to  change  the  old  play. 
And  yet  upon  a  closer  examination  there  are  nevertheless 
indications  which  point  to  the  fundamental  motive  of  the 
whole,  and  thus  connect  the  subordinate  portions  with 
the  principal  part.  A  character  like  Katharina  can  be 
accounted  for  only  by  her  having  received  an  entirely 
wrong  education,  and  a  false  mode  of  treatment;  the 
father  of  such  a  daughter  must  have  wholly  misunder- 
stood his  position  as  a  father,  and,  in  place  of  ruling  his 
house  with  paternal  strictness  and  manly  authority,  must 
have  abandoned  himself  to  effeminacy  and  weakness.  And 
this  is  precisely  what  good  old  Baptista  appears  to  have 
done,  for  although  he  makes  no  secret  of  his  daughter's 
faults  he  does  not  even  attempt  to  correct  them.  Vin- 
centio  also,  to  judge  from  the  little  we  see  of  the  develop- 
ment of  his  character,  must  have  suffered  from  a  similar 
weakness,  otherwise  Lucentio,  his  light-headed  son,  would 
not  have  so  entirely  forgotten  all  filial  duty  and  respect 
towards  him  as  to  venture  to  pass  off  a  ridiculous  pedant 
as  his  own  father,  merely  to  promote  his  own  interests ; 
and  Vincentio  himself  would  not  have  permitted  his  son  to 
be  accompanied  by  servants  equally  inconsiderate  of  their 
position  as  servants.  Gremio,  the  old  suitor,  is  very 
rightly  outwitted  and  made  laughing-stock  for  forgetting 
his  years  and  becoming  the  rival  of  a  spirited  youth  for 
ihe  love  of  a  pretty  girl.  Lastly,  Lucentio  and  Hortensio 
lose  their  wager  against  Petruchio,  and  are  deservedly 

13 


Comments  THE  TAMING 

put  to  shame  for  perpetually  playing  the  part  of  devoted 
and  obsequious  lovers,  and  thus  losing  sight  of  the 
seriousness  of  their"  position  as  men,  and  their  dignity 
as  husbands,  accordingly,  for  having  likewise  placed 
themselves  in  a  false  and  unbecoming  position. 

Ulrici  :  Shakespeare's  Dramatic  Art. 


The  Induction  and  the  Two  Plots. 

The  critics  have  been  very  warm  and  unanimous  in 
praise  of  Shakespeare's  Induction,  some,  however,  won- 
dering and  regretting  that  he  did  not  keep  it  up  to  the 
end  of  the  play,  others  suspecting  that  he  did  so  keep 
it  up,  but  that  the  continuation  has  been  lost.  We  are 
otherwise  minded,  being  convinced  that  in  this  as  in  other 
things  the  Poet  was  wiser  than  his  critics.  For  the  pur- 
pose of  the  Induction  was  but  to  start  an  interest  in  the 
play;  and  he  probably  knew  that  such  interest,  once 
started,  would  be  rather  hindered  than  set  forward  by 
any  comings-in  of  other  matter;  that  there  would  be 
no  time  to  think  of  Sly  amidst  such  a  whirlwind  of  oddi- 
ties and  whimsicalities  as  he  was  going  to  raise.  Never- 
theless, the  regret  in  question  well  approves  the  good- 
ness of  the  thing;  for  the  better  the  thing,  the  more  apt 
men  are  to  think  they  have  not  enough  until  they  have 
too  much  of  it. 

As  to  the  Induction  itself,  we  confess  with  Hazlitt,  that 
if  forced  to  give  up  this  or  the  play  we  should  be  not 
a  little  puzzled  to  choose.  But  then  this,  no  doubt,  is 
partly  because  the  play,  though  abounding  in  well-aimed 
theatrical  hits,  is  one  of  comparatively  little  merit.  The 
Induction  is  wonderfully  stuffed  with  meat,  and  that,  too, 
of  the  most  savoury  quality;  the  free,  varied  transpira- 
tion of  character  crowded  into  it  is  literally  prodigious 
for  so  small  a  space.     And  yet  how  the  whole  thing 

14 


OF  THE  SHREW  Comments 

swims  in  a  stream  of  the  most  racy  and  delicate  humour! 
and  therewithal  has  a  light  aerial  grace,  touched  occa- 
sionally with  the  richest  colours  of  poetry,  hovering  over 
it;  all,  together,  making  it  one  of  the  most  expressive 
and  delectable  things  we  shall  anywhere  find. 

The  two  plots  of  the  play,  as  Johnson  observes,  are 
skilfully  interwoven,  so  as  to  give  a  wide  variety  of  comic 
incident,  without  running  into  perplexity.  And  such 
variety  was  the  more  needful  here,  forasmuch  as  the  in- 
terest turns  in  a  very  unusual  degree  upon  the  incidents; 
though  the  thought  and  speech  are  everywhere  sprightly 
and  brisk  enough.  For  if  the  dialogue  seldom  rise  to 
poetry,  it  never  becomes  vapid  and  fiat,  these  being  qual- 
ities of  which  Shakespeare  was  hardly  capable.  As  to 
Bianca  and  the  proceedings  of  her  suitors,  they  seem  of 
little  consequence  anyway  save  as  helping  to  make  up  an 
agreeable  variety  of  matter.  Bianca  apparently  has  not 
force  of  character  enough  to  do  anything  wrong,  else 
she  had  probably  been  as  naughty  as  her  sister. 

Hudson  :  The  Works  of  Shakespeare. 


VI. 

Shakespeare  and  His  Original. 

The  refined  instinct,  artistic  judgement,  and  consum- 
mate taste  of  Shakespeare  were  perhaps  never  so  won- 
derfully shown  as  in  his  recast  of  another  man's  work — 
a  man  of  real  if  rough  genius  of  comedy — which  we  get 
in  The  Taming  of  the  SJirczv.  Only  the  collation  of  scene 
with  scene,  then  of  speech  with  speech,  then  of  line  with 
line,  will  show  how  much  may  be  borrowed  from  a 
stranger's  material  and  how  much  may  be  added  to  it 
by  the  same  stroke  of  a  single  hand.  All  the  force  and 
humour  alike  of  character  and  situation  belong  to  Shake- 
speare's eclipsed  and  forlorn  precursor ;  he  has  added 
nothing;  he  has  tempered  and  enriched  everything.  That 

15 


Comments  THE  TAMING 

the  luckless  author  of  the  first  sketch  is  like  to  remain 
a  man  as  nameless  as  the  deed  of  the  witches  in  Macbeth, 
unless  some  chance  or  caprice  of  accident  should  sud- 
denly flash  favouring  light  on  his  now  impersonal  and 
indiscoverable  individuality,  seems  clear  enough  when 
we  take  into  account  the  double  and  final  disproof  of  his 
imaginary  identity  w^ith  Marlowe,  which  Mr.  Dyce  has 
put  forward  with  such  unanswerable  certitude.  He  is  a 
clumsy  and  coarse-fingered  plagiarist  from  that  poet,  and 
his  stolen  jewels  of  expression  look  so  grossly  out  of 
place  in  the  homely  setting  of  his  usual  style  that  they 
seem  transmuted  from  real  to  sham.  On  the  other  hand, 
he  is  of  all  the  Pre-Shakespeareans  known,  to  us  incom- 
parably the  truest,  the  richest,  the  most  powerful  and 
original  humourist;  one  indeed  without  a  second  on  that 
ground,  for  "  the  rest  are  nowhere." 

Swinburne  :  A  Study  of  Shakespeare. 


VII. 

Salient  Features. 

The  Taming  of  the  Shrezu  is  almost  the  only  one  of 
Shakespear's  comedies  that  has  a  regular  plot  and 
downright  moral.  It  is  full  of  bustle,  animation,  and 
rapidity  of  action.  It  shows  admirably  how  self-will  is 
only  to  be  got  the  better  of  by  stronger  will,  and  how 
one  degree  of  ridiculous  perversity  is  only  to  be  driven 
out  by  another  still  greater.  Petruchio  is  a  madman  in 
his  senses;  a  very  honest  fellow,  who  hardly  speaks  a 
word  of  truth  and  succeeds  in  all  his  tricks  and  impos- 
tures. He  acts  his  assumed  character  to  the  Hfe,  with 
the  most  fantastical  extravagance,  with  complete  pres- 
ence of  mind,  with  untired  animal  spirits,  and  without  a 
particle  of  ill-humour  from  beginning  to  end.  The  situa- 
tion of  poor  Katherine,  worn  out  by  his  incessant  per- 
secutions, becomes  at  last  almost  as  pitiable  as  it  is  ludi- 

i6 


OF  THE  SHREW  Comments 

crous,  and  it  is  difficult  to  say  which  to  admire  most,  the 
unaccountableness  of  his  actions  or  the  unalterableness 
of  his  resohitions.  It  is  a  character  which  most  hus- 
bands ought  to  study,  unless  the  very  audacity  of  Pe- 
truchio's  attempt  might  alarm  them  more  than  his  suc- 
cess would  encourage  them. 

Hazlitt  :  Characters  of  Shakespear's  Plays. 

VIII. 

Shakespeare  and  Italy. 

The  opening  of  the  comedy,  which  speaks  of  Lom- 
bardy  and  the  University  of  Padua,  might  have  been 
written  by  a  native  Itahan: — 

"  Tranio,  since  for  the  great  desire  I  had 
To  see  fair  Padua,  nursery  of  arts, 
I  am  arriv'd  for  fruitful  Lombardy, 
The  pleasant  garden  of  great  Italy; 

Here  let  us  breathe,  and  haply  institute 

A  course  of  learning  and  ingenious  studies." 

The  very  next  line  I  found  myself  involuntarily  repeat- 
ing, at  the  sight  of  the  grave  countenances  within  the 
walls  of  Pisa: — 

"  Pisa,  renowned  for  grave  citizens." 

They  are  altogether  a  grave  people,  in  their  demeanour, 
their  history,  and  their  literature,  such  as  it  is.  I  never 
met  with  the  anomaly  of  a  merry  Pisan.  Curiously 
enough,  this  line  is  repeated,  word  for  word,  in  the  fourth 
act. 

Lucentio  says,  his  father  came  "of  the  Bentivolii": 
this  is  an  old  Italian  plural;  a  mere  Englishman  would 
write  "  of  the  Bentivolios."  Besides,  there  was,  and  is, 
a  branch  of  the  Bentivolii  in  Florence,  where  Lucentio 
says  he  was  brought  up. 

17 


Comments 

But  these  indications,  just  at  the  commencement  of  the 
play,  are  not  of  great  force.  We  now  come  to  something 
more  important;  a  remarkable  proof  of  his  having  been 
aware  of  the  law  of  the  country  in  respect  to  the  betroth- 
ment  of  Katharina  and  Petruchio,  of  which  there  is  not 
a  vestige  in  the  older  play.  The  father  gives  her  hand  to 
him,  both  parties  consenting,  before  two  witnesses,  who 
declare  themselves  such,  to  the  act.  Such  a  ceremony 
is  as  indissoluble  as  that  of  marriage,  unless  both  parties 
should  consent  to  annul  it.  The  betrothment  takes  place 
in  due  form,  exactly  as  in  many  of  Goldoni's  comedies: — 

Bap.       .       .        .        Give  me  your  hands ; 
God  send  you  joy,  Petruchio!  't  is  a  match. 

Gre.   .    .    .    Tra.  Amen !  say  we ;  we  will  be  witnesses. 

Instantly  Petruchio  addresses  them  as  ''  father  and  wife  "  ; 
because  from  that  moment  he  possesses  the  legal  power 
of  a  husband  over  her,  saving  that  of  taking  her  to  his 
own  house.  Unless  the  betrothment  is  understood  in 
this  light,  we  cannot  account  for  the  father's  so  tamely 
yielding  afterwards  to  Petruchio's  whim  of  going  in  his 
"  mad  attire  "  with  her  to  the  church.  Authority  is  no 
longer  with  the  father ;  in  vain  he  hopes  and  requests  that 
the  bridegroom  will  change  his  clothes ;  Petruchio  is  per- 
emptory in  his  lordly  will  and  pleasure,  which  he  could 
not  possibly  be  without  the  previous  Italian  betrothment. 
Padua  lies  between  Verona  and  Venice,  at  a  suitable 
distance  from  both  for  the  conduct  of  the  comedy.  Pe- 
truchio, after  being  securely  betrothed,  sets  off  to  Ven- 
ice, the  very  place  for  finery,  to  buy  "  rings  and  things, 
and  fine  array  "  for  the  wedding;  and,  when  married,  he 
takes  her  to  his  country-house,  in  the  direction  of  Ve- 
rona, of  w^hich  city  he  is  a  native.  All  this  is  complete, 
and  in  marked  opposition  to  the  worse  than  mistakes  in 
the  Tzi'o  Gentlemen  of  Verona,  which  was  written  when  he 
knew  nothing  whatever  of  the  country. 

Brown  :  Shakespeare's  Autobiographical  Poems. 


i8 


The  Taming  of  the  Shrew. 


DRAMATIS   PERSONAE. 

A  Lord. 

Christopher  Sly,  a  tinker.  )     p  •     7 

Hostess,  Page,  Players,  Huntsmen,      >■        ^    ,       . 

J  „  ^  \        Induction. 

and  Servants.  ) 

Baptista,  a  rich  gentleman  of  Padua. 

ViNCENTio,  an  old  gentleman  of  Pisa. 

LucENTio,  son  to  Vincentio,  in  love  zvith  Bianca. 

Petruchio,  a  gentleman  of  Verona,  a  suitor  to  Katharina. 

Gremio,  ,         . 

>•    suitors  to  Bianca 
Hortensio 

Tranio,  , 

_  y    servants  to  Lucentio. 

BlONDELLO, 


„} 

Grumio,    )  „         , . 

^  >•  servants  to  Petruchio. 

Curtis,      ) 


A  Pedant. 

Katharina,  the  shrew 

BiancAj 

Widow. 


_,  r    daughters  to  Baptista. 

Bianca,  ) 


Tailor,  Haberdasher,  and  Servants  attending  on  Baptista 
and  Petruchio. 

Scene:    Padua,  and  Petruchio' s  country  house. 


THE  TAMING  OF  THE  SHREW. 

INDUCTION. 

Scene  I. 

Before  an  alehouse  on  a  heath. 

Enter  Hostess  and  Sly. 

Sly.  I  '11  pheeze  you,  in  faith. 

Host.  A  pair  of  stocks,  you  rogue! 

Sly.  Y'  are  a  baggage :  the  Slys  are  no  rogues ;  look 

in  the  chronicles;    we   came  in  with   Richard 

Conqueror.     Therefore    paucas    pallabris;     let 

the  world  slide:  sessa! 
Host.  You  will  not  pay  for  the  glasses  you  have 

burst? 
Sly.  No,  not  a  denier.     Go  by,  Jeronimy :   go  to  thy 

cold  bed,  and  warm  thee.  lo 

Host.  I   know  my   remedy;    I   must   go   fetch   the 

thirdborough.  [Exit. 

Sly.  Third,  or  fourth,  or  fifth  borough,  I  '11  answer 

him  by  law:    I  '11  not  budge  an  inch,  boy:    let 

him  come,  and  kindly.  [Falls  asleep. 

Horns  winded.     Enter  a  lord  from  hunting,  zvith  his  train. 

Lord.  Huntsman,  I  charge  thee,  tender  well  my  hounds : 
Brach  Merriman,  the  poor  cur  is  emboss'd ; 
And  couple  Clowder  with  the  deep-mouth'd  brach. 
Saw'st  thou  not,  boy,  how  Silver  made  it  good 
At  the  hedge-corner,  in  the  coldest  fault?  20 


Induction.    Sc.  i.  THE  TAMING 

I  would  not  lose  the  dog  for  twenty  pound. 

First  Hun.  Why,  Belman  is  as  good  as  he,  my  lord; 
He  cried  upon  it  at  the  merest  loss, 
And  twice  to-day  pick'd  out  the  dullest  scent: 
Trust  me,  I  take  him  for  the  better  dog. 

Lord.  Thou  art  a  fool:   if  Echo  were  as  fleet, 
I  would  esteem  him  worth  a  dozen  such. 
But  sup  them  well  and  look  unto  them  all: 
To-morrow  I  intend  to  hunt  again. 

First  Hun.  I  will,  my  lord.  30 

Lord.  What 's  here?    one   dead,   or  drunk?     See,   doth 
he  breathe? 

Sec.  Hun.  He  breathes,  my  lord.     Were  he  not  warm'd 
with  ale, 
This  were  a  bed  but  cold  to  sleep  so  soundly. 

Lord.  O  monstrous  beast!   how  like  a  swine  he  lies! 

Grim  death,  how  foul  and  loathsome  is  thine  image! 

Sirs,  I  will  practise  on  this  drunken  man. 

What  think  you,  if  he  were  convey'd  to  bed, 

Wrapp'd  in  sweet  clothes,  rings  put  upon  his  fingers, 

A  most  delicious  banquet  by  his  bed, 

And  brave  attendants  near  him  when  he  wakes,     40 

Would  not  the  beggar  then  forget  himself? 

First  Finn.  Believe  me,  lord,  I  think  he  cannot  choose. 

Sec.  Hun.  It  would   seem   strange   unto   him   when  he 
waked. 

Lord.  Even  as  a  flattering  dream  or  worthless  fancy. 
Then  take  him  up  and  manage  well  the  jest: 
Carry  him  gently  to  my  fairest  chamber 
And  hang  it  round  with  ah  my  wanton  pictures : 
Balm  his  foul  head  in  warm  distilled  waters 
And  burn  sweet  wood  to  make  the  lodging  sweet: 
Procure  me  music  ready  when  he  wakes,  50 

22 


OF  THE  SHREW  Induction.    Sc.  i. 

To  make  a  dulcet  and  a  heavenly  sound ; 

And  if  he  chance  to  speak,  be  ready  straight 

And  with  a  low  submissive  reverence 

Say  '  What  is  it  your  honour  will  command? ' 

Let  one  attend  him  with  a  silver  basin 

Full  of  rose-water  and  bestrew'd  with  flowers; 

Another  bear  the  ewer,  the  third  a  diaper, 

And   say   '  Will  't   please   your  lordship   cool   your 

hands? ' 
Some  one  be  ready  with  a  costly  suit, 
And  ask  him  what  apparel  he  will  wear;  60 

Another  tell  him  of  his  hounds  and  horse, 
And  that  his  lady  mourns  at  his  disease: 
Persuade  him  that  he  hath  been  lunatic; 
And  when  he  says  he  is,  say  that  he  dreams, 
For  he  is  nothing  but  a  mighty  lord. 
This  do  and  do  it  kindly,  gentle  sirs ; 
It  will  be  pastime  passing  excellent, 
If  it  be  husbanded  with  modesty. 

First  Hiin.  Aly  lord,  I  warrant  you  we  will  play  our  part, 
As  he  shall  think  by  our  true  diligence  70 

He  is  no  less  than  what  we  say  he  is. 

Lord.  Take  him  up  gently  and  to  bed  with  him ; 
And  each  one  to  his  oihce  when  he  wakes. 

[Some  hear  out  Sly.     A  trumpet  sounds. 
Sirrah,  go  see  what  trumpet  'tis  that  sounds : 

[Exit  Servingman. 
Belike,  some  noble  gentleman  that  means, 
Travelling  some  journey,  to  repose  him  here. 

Re-enter  Servingman, 

How  now  !   who  is  it  ? 
Serv.  An  't  please  your  honour,  players 

23 


Induction.    Sc.  i.  THE  TAMING 

That  offer  service  to  your  lordship. 
Lord.  Bid  them  come  near. 

Enter  Players. 

Now,  fellows,  you  are  welcome. 

Players.  We  thank  your  honour.  80 

Lord.  Do  you  Intend  to  stay  with  me  to-night? 

A  Player.  So  please  your  lordship  to  accept  our  duty. 

Lord.  With  all  my  heart.     This  fellow  I  remember, 
Since  once  he  play'd  a  farmer's  eldest  son: 
'Twas  where  you  woo'd  the  gentlewoman  so  well: 
I  have  forgot  your  name;    but,  sure,  that  part 
Was  aptly  fitted  and  naturally  perform'd. 

A  Player.  I  think  'twas  Soto  that  your  honour  means. 

Lord,  'TIs  very  true:   thou  didst  It  excellent. 

Well,  you  are  come  to  me  In  happy  time;  90 

The  rather  for  I  have  some  sport  In  hand 

Wherein  your  cunning  can  assist  me  much. 

There  is  a  lord  will  hear  you  play  to-night: 

But  I  am  doubtful  of  your  modesties; 

Lest  over-eyeing  of  his  odd  behaviour, — 

For  yet  his  honour  never  heard  a  play, — 

You  break  into  some  merry  passion 

And  so  offend  him ;   for  I  tell  you,  sirs. 

If  you  should  smile  he  grows  impatient. 

A  Player.  Fear  not,  my  lord:  we  can  contain  ourselves. 
Were  he  the  veriest  antic  in  the  world.  loi 

Lord.  Go,  sirrah,  take  them  to  the  buttery, 
And  give  them  friendly  welcome  every  one: 
Let  them  want  nothing  that  my  house  affords. 

[Exit  one  with  the  Players. 
Sirrah,  go  you  to  Bartholomew  my  page, 

24 


OF  THE  SHREW  Induction.    Sc.  i. 

And  see  him  dress'd  in  all  suits  like  a  lady: 
That  done,  conduct  him  to  the  drunkard's  chamber; 
And  call  him  '  madam,'  do  him  obeisance. 
Tell  him  from  me,  as  he  will  win  my  love, 
He  bear  himself  with  honourable  action,  no 

Such  as  he  hath  observed  in  noble  ladies 
Unto  their  lords,  by  them  accomplished : 
Such  duty  to  the  drunkard  let  him  do 
With  soft  low  tongue  and  lowly  courtesy. 
And  say,  '  What  is  't  your  honour  will  command. 
Wherein  your  lady  and  your  humble  wife 
May  show  her  duty  and  make  known  her  love? ' 
And  then  with  kind  embracements,  tempting  kisses. 
And  with  declining  head  into  his  bosom, 
Bid  him  shed  tears,  as  being  overjoy'd  120 

To  see  her  noble  lord  restored  to  health. 
Who  for  this  seven  years  hath  esteemed  him 
No  better  than  a  poor  and  loathsome  beggar: 
And  if  the  boy  have  not  a  woman's  gift 
To  rain  a  shower  of  commanded  tears. 
An  onion  will  do  well  for  such  a  shift, 
Which  in  a  napkin  being  close  convey'd 
Shall  in  despite  enforce  a  watery  eye. 
See  this  dispatch'd  with  all  the  haste  thou  canst: 
Anon  I  '11  give  thee  more  instructions.  130 

[Exit  a  Servingman. 
I  know  the  boy  will  well  usurp  the  grace. 
Voice,  gait  and  action  of  a  gentlewoman : 
I  long  to  hear  him  call  the  drunkard  husband, 
And  how  my  men  will  stay  themselves  from  laughter 
When  they  do  homage  to  this  simple  peasant. 
I  '11  in  to  counsel  them;  haply  my  presence 
25 


Induction.    Sc.  ii.  THE  TAMING 

May  well  abate  the  over-merry  spleen 
Which  otherwise  would  grow  into  extremes. 

[Exeunt. 
Scene  II. 

A  bedchamber  in  the  Lord's  house. 
Enter  aloft  Sly,  zvith  Attendants;  some  zvith  apparel, 
others  with  basin  and  ewer  and  other  appur- 
tenances, and  Lord. 
Sly.  For  God's  sake,  a  pot  of  small  ale. 
First  Serv.  Will 't  please  your  lordship  drink  a  cup  of 

sack? 
Sec.  Serv.  Will 't  please  your  honour  taste  of  these  con- 
serves ? 
Third  Serv.  W^hat  raiment  will  your  honour  wear  to-day? 
Sly.  I  am  Christophero  Sly;    call  not  me  'honour' 
nor  '  lordship  ' :    I  ne'er  drank  sack  in  my  Hfe ; 
and  if  you   give   me   any   conserves,   give   me 
conserves  of  beef;    ne'er  ask  me  what  raiment 
I  '11  wear;    for  I  have  no  more  doublets  than 
backs,  no  more  stockings  than  legs,  nor  no  more     lo 
shoes  than  feet;  nay,  sometime  more  feet  than 
shoes,  or  such  shoes  as  my  toes  look  through 
the  overleather. 
Lord.  Heaven  cease  this  idle  humour  in  your  honour! 
O,  that  a  mighty  man  of  such  descent, 
Of  such  possessions  and  so  high  esteem, 
Should  be  infused  with  so  foul  a  spirit! 
Sly.  What,  would  you  make  me  mad?     Am  not  I 
Christopher  Sly,  old  Sly's  son  of  Burton-heath, 
by  birth  a  pedlar,  by  education  a  card-maker,     20 
by    transmutation    a    bear-herd,    and    now    by 
present    profession    a    tinker?     Ask     Marian 
Hacket,    the    fat    ale-wife    of    Wincot,    if    she 
26 


OF  THE  SHREW  Induction.    Sc.  ii. 

know  me  not:  if  she  say  I  am  not  fourteen 
pence  on  the  score  for  sheer  ale,  score  me  up 
for  the  lyingest  knave  in  Christendom.  What! 
I  am  not  bestraught :   here  's — 

Third  Serv.  O,  this  it  is  that  makes  your  lady  mourn! 

Sec.  Serv.  O,  this  is  it  that  makes  your  servants  droop! 

Lord.  Hence   comes   it   that   your   kindred   shuns    your 
house,  30 

As  beaten  hence  by  your  strange  lunacy. 
O  noble  lord,  bethink  thee  of  thy  birth, 
Call  home  thy  ancient  thoughts  from  banishment, 
And  banish  hence  these  abject  lowly  dreams. 
Look  how  thy  servants  do  attend  on  thee. 
Each  in  his  ofhce  ready  at  thy  beck. 
Wilt  thou  have  music  ?  hark !  Apollo  plays,     [Music. 
And  twenty  caged  nightingales  do  sing: 
Or  wilt  thou  sleep?  we  '11  have  thee  to  a  couch 
Softer  and  sweeter  than  the  lustful  bed  40 

On  purpose  trimm'd  up  for  Semiramis. 
Say  thou  wilt  walk;   we  will  bestrew  the  ground: 
Or  wilt  thou  ride?  thy  horses  shall  be  trapp'd, 
Their  harness  studded  all  with  gold  and  pearl. 
Dost   thou    love    hawking?     thou    hast    hawks    will 

soar 
Above  the  morning  lark:   or  wilt  thou  hunt? 
Thy  hounds  shall  make  the  w^elkin  answer  them, 
And  fetch  shrill  echoes  from  the  hollow  earth. 

First  Serv.  Say  thou  wilt  course;  thy  greyhounds  are  as 
swift 
.As  breathed  stags,  ay,  fleeter  than  the  roe.  50 

Sec.  Serv.  Dost  thou  love  pictures?    we  will  fetch  thee 
straight 
Adonis  painted  by  a  running  brook, 


Induction.    Sc.  ii.  THE  TAMING 

And  Cytherea  all  in  sedges  hid, 

Which  seem  to  move  and  wanton  with  her  breath, 

Even  as  the  waving  sedges  play  with  wind. 
Lord.  We  '11  show  thee  lo  as  she  was  a  maid 

And  how  she  was  beguiled  and  surprised. 

As  lively  painted  as  the  deed  was  done. 
Third  Serv.  Or  Daphne  roaming  through  a  thorny  wood 

Scratching  her  legs  that  one  shall  swear  she  bleeds. 

And  at  that  sight  shall  sad  Apollo  weep,  6i 

So  workmanly  the  blood  and  tears  are  drawn. 
Lord.  Thou  art  a  lord  and  nothing  but  a  lord : 

Thou  hast  a  lady  far  more  beautiful 

Than  any  woman  in  this  waning  age. 
First  Serv.  And  till  the  tears  that  she  hath  shed  for  thee 

Like  envious  floods  o'er-run  her  lovely  face, 

She  was  the  fairest  creature  in  the  world; 

And  yet  she  is  inferior  to  none. 
Sly.  Am  I  a  lord  ?  and  have  I  such  a  lady  ?  70 

Or  do  I  dream  ?  or  have  I  dream'd  till  now  ? 

I  do  not  sleep:   I  see,  I  hear,  I  speak; 

I  smell  sweet  savours  and  I  feel  soft  things: 

Upon  my  life,  I  am  a  lord  indeed. 

And  not  a  tinker  nor  Christophero  Sly. 

Well,  bring  our  lady  hither  to  our  sight; 

And  once  again,  a  pot  o'  the  smallest  ale. 
Sec.  Serv.  Will 't  please  your  mightiness  to  wash  your 
hands? 

O,  how  we  joy  to  see  your  wit  restored! 

O,  that  once  more  you  knew  but  what  you  are!     80 

These  fifteen  years  you  have  been  in  a  dream; 

Or  when  you  waked,  so  waked  as  if  you  slept. 
Sly.  These  fifteen  years !  by  my  fay,  a  goodly  nap. 

28 


OF  THE  SHREW  Induction,    Sc.  ii. 

But  did  I  never  speak  of  all  that  time  ? 

First  Serv.  O,  yes,  my  lord,  but  very  idle  words: 

For  though  you  lay  here  in  this  goodly  chamber, 
Yet  would  you  say  ye  were  beaten  out  of  door; 
And  rail  upon  the  hostess  of  the  house ; 
And  say  you  would  present  her  at  the  leet, 
Because    she    brought    stone   jugs    and    no    seal'd 

quarts : 
Sometimes  you  would  call  out  for  Cicely  Racket.     91 

Sly.  Ay,  the  woman's  maid  of  the  house. 

Third  Serv.  Why,  sir,  you  know  no  house  nor  no  such 
maid, 
Nor  no  such  men  as  you  have  reckon'd  up. 
As  Stephen  Sly  and  old  John  Naps  of  Greece 
And  Peter  Turph  and  Henry  Pimpernell 
And  twenty  more  such  names  and  men  as  these 
Which  never  were  nor  no  man  ever  saw. 

Sly.  Now  Lord  be  thanked  for  my  good  amends! 

All.  Amen.  100 

Sly.  I  thank  thee :  thou  shalt  not  lose  by  it. 

Enter  the  Page  as  a  lady,  attended. 

Page.  How  fares  my  noble  lord? 

Sly.  Marry,  I  fare  well;   for  here  is  cheer  enough. 

Where  is  my  wife? 
Page.  Here,  noble  lord :  what  is  thy  will  with  her  ? 
Sly.  Are  you  my  wife  and  will  not  call  me  husband? 

My  men  should   call   me   'lord':    I   am   your 

goodman. 
Page.  My  husband  and  my  lord,  my  lord  and  husband; 

I  am  your  wife  in  all  obedience. 
Sly.  I  know  it  well.     What  must  I  call  her?  no 

Lord.  Madam. 

29 


Induction.    Sc.  ii.  THE  TAMING 

Sly.  Al'ce  madam,  or  Joan  madam? 

Lord.  '  Madam  '  and  nothing  else:   so  lords  call  ladies. 

Sly.  Madam  wife,  they  say  that  I  have  dream'd 
And  slept  above  some  fifteen  year  or  more. 

Page.  Ay,  and  the  time  seems  thirty  unto  me, 

Being  all  this  time  abandon'd  from  your  bed. 

Sly.  'Tis  much.     Servants,  leave  me  and  her  alone. 
Aladam,  undress  you  and  come  now  to  bed 

Page.  Thrice-noble  lord,  let  me  entreat  of  you  120 

To  pardon  me  yet  for  a  night  or  two; 
Or,  if  not  so,  until  the  sun  be  set : 
For  your  physicians  have  expressly  charged, 
In  peril  to  incur  your  former  malady, 
That  I  should  yet  absent  me  from  your  bed: 
I  hope  this  reason  stands  for  my  excuse. 

Sly.  Ay,  it  stands  so  that  I  may  hardly  tarry  so  long. 
But  I  would  be  loath  to  fall  into  my  dreams 
again:    I  will  therefore  tarry  in  despite  of  the 
flesh  and  the  blood.  130 

Enter  a  Messenger. 

Mess.  Your  honour's  players,  hearing  your  amendment, 
Are  come  to  play  a  pleasant  comedy; 
For  so  your  doctors  hold  it  very  meet. 
Seeing  too  much  sadness  hath  congeal'd  your  blood, 
And  melancholy  is  the  nurse  of  frenzy: 
Therefore  they  thought  it  good  you  hear  a  play 
And  frame  your  mind  to  mirth  and  merriment. 
Which  bars  a  thousand  harms  and  lengthens  life. 

Sly.  Marry,  I  will,  let  them  play  it.     Is  not  a  com- 

onty  a  Christmas  gambold  or  a  tumbling-trick?     140 

Page.  No,  my  good  lord ;   it  is  more  pleasing  stufif. 

30 


OF  THE  SHREW  Act  I.  Sc.  i. 

Sly.  What,  household  stuff? 
Page.  It  is  a  kind  of  history. 
Sly.  Well,  we  '11  see  't.     Come,  madam  wife,  sit  by 

my  side  and  let  the  world  slip :    we  shall  ne'er 

be  younger. 

Flourish. 

ACT   FIRST. 
Scene  I. 

Padua.     A  public  place. 

Enter  Lucentio  and  his  man  Tranio. 

Luc.  Tranio,  since  for  the  great  desire  I  had 
To  see  fair  Padua,  nursery  of  arts, 
I  am  arrived  for  fruitful  Lombardy, 
The  pleasant  garden  of  great  Italy ; 
And  by  my  father's  love  and  leave  am  arm'd 
With  his  good  will  and  thy  good  company, 
My  trusty  servant,  well  approved  in  all, 
Here  let  us  breathe  and  haply  institute 
A  course  of  learning  and  ingenious  studies. 
Pisa  renowned  for  grave  citizens  lo 

Gave  me  my  being  and  my  father  first, 
A  merchant  of  great  traffic  through  the  world, 
Vincentio,  come  of  the  Bentivolii. 
Vincentio's  son  brouglit  up  in  Florence 
It  shall  become  to  serve  all  hopes  conceived, 
To  deck  his  fortune  with  his  virtuous  deeds: 
And  therefore,  Tranio,  for  the  time  I  study, 
Virtue  and  that  part  of  philosophy 
Will  I  apply  that  treats  of  happiness 

31 


Act  I.  Sc.  i.  THE  TAMING 

By  virtue  specially  to  be  achieved.  20 

Tell  me  thy  mind;   for  I  have  Pisa  left 
And  am  to  Padua  come,  as  he  that  leaves 
A  shallow  plash  to  plunge  him  in  the  deep, 
And  with  satiety  seeks  to  quench  his  thirst. 

Tra,  Mi  perdonato,  gentle  master  mine, 
I  am  in  all  affected  as  yourself; 
Glad  that  you  thus  continue  your  resolve 
To  suck  the  sweets  of  sweet  philosophy. 
Only,  good  master,  while  we  do  admire 
This  virtue  and  this  moral  discipline,  30 

Let 's  be  no  stoics  nor  no  stocks,  I  pray;. 
Or  so  devote  to  Aristotle's  checks 
As  Ovid  be  an  outcast  quite  abjured : 
Balk  logic  with  acquaintance  that  you  have, 
And  practise  rhetoric  in  your  common  talk; 
Music  and  poesy  use  to  quicken  you; 
The  mathematics  and  the  metaphysics, 
Fall  to  them  as  you  find  your  stomach  serves  you. 
No  profit  grows  where  is  no  pleasure  ta'en: 
In  brief,  sir,  study  what  you  most  affect.  40 

Luc.  Gramercies,  Tranio,  well  dost  thou  advise. 
If,  Biondello,  thou  wert  come  ashore. 
We  could  at  once  put  us  in  readiness. 
And  take  a  lodging  fit  to  entertain 
Such  friends  as  time  in  Padua  shall  beget. 
But  stay  a  while:  what  company  is  this? 

Tra.  Master,  some  show  to  welcome  us  to  town. 

Enter  Baptista,Katharina,  Bianca,  Gremio,  and  Hortensio. 
Liicentio  and  Tranio  stand  by. 

Bap.  Gentlemen,  importune  me  no  farther, 

32 


OF  THE  SHREW  Act  I.  Sc.  i. 

For  how  I  firmly  am  resolved  you  know ; 

That  is,  not  to  bestow  my  youngest  daughter         50 

Before  I  have  a  husband  for  the  elder: 

If  either  of  you  both  love  Katharina, 

Because  I  know  you  well  and  love  you  well, 

Leave  shall  you  have  to  court  her  at  your  pleasure. 

Gre,    [Aside]    To  cart  her  rather:    she's  too  rough  for 
me. 
There,  there,  Hortensio,  will  you  any  wife? 

Kath.  I  pray  you,  sir,  is  it  your  will 

To  make  a  stale  of  me  amongst  these  mates? 

Hor.  Mates,  maid !    how  mean  you  that  ?    no  mates  for 
you. 
Unless  you  were  of  gentler,  milder  mould.  60 

Kath.  V  faith,  sir,  you  shall  never  need  to  fear: 
I  wis  it  is  not  half  way  to  her  heart ; 
But  if  it  were,  doubt  not  her  care  should  be 
To  comb  your  noddle  with  a  three-legg'd  stool 
And  paint  your  face  and  use  you  like  a  fool. 

Hor.  From  all  such  devils,  good  Lord  deliver  us! 

Grc.  And  me  too,  good  Lord! 

Tra.  Husht,  master !  here  's  some  good  pastime  toward : 
That  wench  is  stark  mad  or  wonderful  froward. 

Luc.  But  in  the  other's  silence  do  I  see  70 

Maid's  mild  behaviour  and  sobriety. 
Peace,  Tranio! 

Tra.  Well  said,  master;    mum!    and  gaze  your  fill. 

Bap.  Gentlemen,  that  I  may  soon  make  good 
What  I  have  said,  Bianca,  get  you  in : 
And  let  it  not  displease  thee,  good  Bianca, 
For  I  will  love  thee  ne'er  the  less,  my  girl. 

Kath.  A  pretty  peat!    it  is  best 

Put  finger  in  the  eye,  an  she  knew  why. 

Bian.  Sister,  content  you  in  my  discontent.  80 

23 


Act  L  Sc.  i.  THE  TAMING 

Sir,  to  your  pleasure  humbly  I  subscribe: 
My  books  and  instruments  shall  be  my  company, 
On  them  to  look  and  practise  by  myself. 

Luc.  Hark,  Tranio!   thou  may'st  hear  Minerva  speak. 

Hor.  Signior  Baptista,  will  you  be  so  strange? 
Sorry  am  I  that  our  good  will  effects 
Bianca's  grief. 

Gre.  Why  will  you  mew  her  up, 

Signior  Baptista,  for  this  fiend  of  hell, 
And  make  her  bear  the  penance  of  her  tongue? 

Bap.  Gentlemen,  content  ye;    I  am  resolved:  90 

Go  in,  Bianca :  [Exit  Bianca. 

And  for  I  know  she  taketh  most  delight 
In  music,  instruments  and  poetry, 
Schoolmasters  will  I  keep  within  my  house. 
Fit  to  instruct  her  youth.     If  you,  Hortensio, 
Or  Signior  Gremio,  you,  know  any  such, 
Prefer  them  hither;  for  to  cunning  men 
I  will  be  very  kind,  and  liberal 
To  mine  own  children  in  good  bringing-up: 
And  so  farewell.    Katharina,  you  may  stay;         100 
For  I  have  more  to  commune  with  Bianca.  [Exit. 

Kath.  Why,  and  I  trust  I  may  go  too,  may  I  not? 
What,  shall  I  be  appointed  hours;  as  though, 
belike,  I  knew  not  what  to  take,  and  what  to 
leave,  ha?  [Exit. 

Grc.  You  may  go  to  the  devil's  dam:  your  gifts  are 
so  good,  here  's  none  will  hold  you.  Their  love 
is  not  so  great,  Hortensio,  but  we  may  blow  our 
nails  together,  and  fast  it  fairly  out:  our  cake  's 
dough  on  both  sides.  Farewell:  yet,  for  the  no 
love  I  bear  my  sweet  Bianca,  if  I  can  by  any 

34 


OF  THE  SHREW  Act  I.  Sc.  i. 

means  light  on  a  fit  man  to  teach  her  that 
wherein  she  deHghts,  I  will  wish  him  to  her 
father. 

Hor.  So  will  I,  Signior  Gremio :  but  a  word,  I  pray. 
Though  the  nature  of  our  quarrel  yet  never 
brooked  parle,  know  now,  upon  advice,  it 
toucheth  us  both,  that  we  may  yet  again  have 
access  to  our  fair  mistress,  and  be  happy  rivals 
in  Bianca's  love,  to  labour  and  effect  one  thing  120 
specially. 

Gre.  What's  that,  I  pray? 

Hor.  Marry,  sir,  to  get  a  husband  for  her  sister. 

Gre.  A  husband !  a  devil. 

Hor.  I  say,  a  husband. 

Gre.  I  say,  a  devil.  Thinkest  thou,  Hortensio, 
though  her  father  be  very  rich,  any  man  is  so 
very  a  fool  to  be  married  to  hell  ? 

Hor.  Tush,   Gremio,  though   it  pass  your  patience 

and  mine  to  endure  her  loud  alarums,  why,  man,   130 
there  be  good  fellows  in  the  world,  an  a  man 
could  light  on  them,  would  take  her  with  all 
faults,  and  money  enough. 

Gre.  I  cannot  tell ;  but  I  had  as  lief  take  her  dowry 
with  this  condition,  to  be  whipped  at  the  high- 
cross  every  morning. 

Hor.  Faith,  as  you  say,  there  's  small  choice  in  rotten 
apples.  But  come;  since  this  bar  in  law  makes 
us  friends,  it  shall  be  so  far  forth  friendly  main- 
tained till  by  helping  Baptista's  eldest  daughter  140 
to  a  husband  we  set  his  youngest  free  for  a 
husband,  and  then  have  to 't  afresh.  Sweet 
Bianca!     Happy   man  be  his   dole!     He  that 

35 


Act  I.Sc.  i.  THE  TAMING 

runs    fastest    gets    the    ring.      How    say    you, 
Signior  Gremio? 

Gre.  I  am  agreed;  and  would  I  had  given  him  the 
best  horse  in  Padua  to  begin  his  wooing  that 
would  thoroughly  woo  her,  wed  her  and  bed 
her  and  rid  the  house  of  her!    Come  on. 

[EA-eunt  Gremio  and  Hortensio. 

Tra.  I  pray,  sir,  tell  me,  is  it  possible  150 

That  love  should  of  a  sudden  take  such  hold! 

Liic.  O  Tranio,  till  I  found  it  to  be  true, 
I  never  thought  it  possible  or  likely; 
But  see,  while  idly  I  stood  looking  on, 
I  found  the  effect  of  love  in  idleness: 
And  now  in  plainness  do  confess  to  thee. 
That  art  to  me  as  secret  and  as  dear 
As  Anna  to  the  Queen  of  Carthage  was, 
Tranio,  I  burn,  I  pine,  I  perish,  Tranio, 
If  I  achieve  not  this  young  modest  girl.  160 

Counsel  me,  Tranio,  for  I  know  thou  canst; 
Assist  me,  Tranio,  for  I  know  thou  wilt. 

Tra.  Master,  it  is  no  time  to  chide  you  now; 
Affection  is  not  rated  from  the  heart : 
If  love  have  touch'd  you,  nought  remains  but  so, 
^  Redime  te  captum  quam  queas  minimo.' 

Luc.  Gramercies,  lad,  go  forward;    this  contents: 
The  rest  will  comfort,  for  thy  counsel 's  sound. 

Tra.  Master,  you  look'd  so  longly  on  the  maid, 

Perhaps  you  mark'd  not  what  's  the  pith  of  all.     170 

Luc.  O  yes,  I  saw  sweet  beauty  in  her  face. 
Such  as  the  daughter  of  Agenor  had. 
That  made  great  Jove  to  humble  him  to  her  hand, 
When  with  his  knees  he  kiss'd  the  Cretan  strond. 


OF  THE  SHREW  Act  I.  Sc.  i. 

Tra.  Saw  you  no  more?  mark'd  you  not  how  her  sister 
Began  to  scold  and  raise  up  such  a  storm 
That  mortal  cars  might  hardly  endure  the  din? 

Luc.  Tranio,  I  saw  her  coral  lips  to  move 

And  with  her  breath  she  did  perfume  the  air: 
Sacred  and  sweet  was  all  I  saw  in  her.  i8o 

Tra.  Nay,  then,  'tis  time  to  stir  him  from  his  trance. 
I  pray,  awake,  sir:  if  you  love  the  maid. 
Bend  thoughts  and  wits  to  achieve  her.     Thus  it 

stands: 
Her  elder  sister  is  so  curst  and  shrewd 
That  till  the  father  rid  his  hands  of  her, 
Master,  your  love  must  live  a  maid  at  home; 
And  therefore  has  he  closely  mew'd  her  up, 
Because  she  will  not  be  annoy'd  with  suitors. 

Liic.  Ah,  Tranio,  what  a  cruel  father  's  he! 

But  art  thou  not  advised,  he  took  some  care         190 
To  get  her  cunning  schoolmasters  to  instruct  her? 

Tra.  Ay,  marry,  am  I,  sir;  and  now  'tis  plotted. 

Luc.  I  have  it,  Tranio. 

Tra.  Master,  for  my  hand, 

Both  our  inventions  meet  and  jump  in  one. 

Luc.  Tell  me  thine  first. 

Tra.  You  will  be  schoolmaster 

And  undertake  the  teaching  of  the  maid: 
f         That 's  your  device. 

Luc.  It  is  :   may  it  be  done  ? 

Tra.  Not  possible;   for  who  shall  bear  your  part, 
And  be  in  Padua  here  Vincentio's  son; 
Keep    house    and     ply    his    book,     welcome    his 
friends,  200 

Visit  his  countrymen  and  banquet  them? 

Liic.  Basta;  content  thee,  for  I  have  it  full. 

37 


Act  I.  Sc.  i.  THE  TAMING 

We  have  not  yet  been  seen  in  any  house, 

Nor  can  we  be  distinguish'd  by  our  faces 

For  man  or  master ;  then  it  follows  thus ; 

Thou  shalt  be  master,  Tranio,  in  my  stead. 

Keep  house  and  port  and  servants,  as  I  should: 

I  will  some  other  be;   some  Florentine, 

Some  Neapolitan,  or  meaner  man  of  Pisa. 

'Tis  hatch'd  and  shall  be  so:  Tranio,  at  once         210 

Uncase  thee;  take  my  colour'd  hat  and  cloak: 

When  Biondello  comes,  he  waits  on  thee; 

But  I  will  charm  him  first  to  keep  his  tongue. 

Tra.  So  had  you  need. 

In  brief,  sir,  sith  it  your  pleasure  is, 

And  I  am  tied  to  be  obedient, 

For  so  your  father  charged  me  at  our  parting; 

*  Be  serviceable  to  my  son,'  quoth  he, 

Although  I  think  'twas  in  another  sense; 

I  am  content  to  be  Lucentio^  220 

Because  so  well  I  love  Lucentio. 

Luc.  Tranio,  be  so,  because  Lucentio  loves: 
And  let  me  be  a  slave  to  achieve  that  maid 
Whose  sudden  sight  hath  thrall'd  my  wounded  eye. 
Here  comes  the  rogue. 

Enter  Biondello. 

Sirrah,  where  have  you  been? 
Bion.  W^^re  have  I  been!     Nay,  how  now!    where 

are  you?    Master,  has  my  fellow  Tranio  stolen 

your  clothes?     Or  you   stolen  his?    or  both? 

pray,  what 's  the  news? 
Luc.  Sirrah,  coine  hither:    'tis  no  time  to  jest,  230 

And  therefore  frame  your  manners  to  the  time. 

38 


OF  THE  SHREW  Act  I.  Sc.  i. 

Your  fellow  Tranio  here,  to  save  my  life, 
Puts  my  apparel  and  my  countenance  on, 
And  I  for  my  escape  have  put  on  his; 
For  in  a  quarrel  since  I  came  ashore 
I  kill'd  a  man  and  fear  I  was  descried: 
Wait  you  on  him,  I  charge  you,  as  becomes. 
While  I  make  way  from  hence  to  save  my  life: 
You  understand  me? 

Bion.  I  sir!  ne'er  a  whit. 

Luc.  And  not  a  jot  of  Tranio  in  your  mouth:  240 

Tranio  is  changed  into  Lucentio. 

Bion.  The  better  for  him:  would  I  were  so  too! 

Tra.  So  could  I,  faith,  boy,  to  have  the  next  wish  after. 
That    Lucentio    indeed    had    Baptista's    youngest 

daughter. 
But,  sirrah,  not  for  my  sake,  but  your  master's  I  ad- 
vise 
You  use  your  manners  discreetly  in  all  kind  of  com- 
panies: 
When  I  am  alone,  why,  then  I  am  Tranio; 
But  in  all  places  else  your  master  Lucentio. 

Luc.  Tranio,  let's  go:    one  thing  more  rests,  that 

thyself    execute,    to    make    one    among    these  250 
wooers:     if    thou    ask    me    why,    sufficeth,  my 
reasons  are  both  good  and  weighty.  [Exeiuit. 

The  presenters  above  speak. 

First  Serv.  My  lord,  you  nod ;  you  do  not  mind  the  play. 
Sly.  Yes,  by  Saint  Anne,  do  L     A  good  matter, 

surely:   comes  there  any  more  of  it? 
Page.  My  lord,  'tis  but  begun. 
Sly.  'Tis  a  very  excellent  piece  of  work,   madam 

lady:   would 'twere  done!  [They  sit  and  mark. 

39 


Act  I.  Sc.  ii.  THE  TAMING 

Scene  II. 

Padua.     Before  Hortensio's  house. 
Elite?'  Petruchio  and  his  man  Grumio. 

Pet.  Verona,  for  a  while  I  take  my  leave, 
To  see  my  friends  in  Padua,  but  of  all 
My  best  beloved  and  approved  friend, 
Hortensio;    and  I  trow  this  is  his  house. 
Here,  sirrah  Grumio;   knock,  I  say. 

Gru.  Knock,  sir!  whom  should  I  knock?  is  there 
any  man  has  rebused  your  worship? 

Pet.  Villain,  I  say,  knock  me  here  soundly. 

Gru.  Knock  you  here,  sir!  why,  sir,  what  am  I,  sir, 

that  I  should  knock  you  here,  sir?  lo 

Pet.  Villain,  I  say,  knock  me  at  this  gate 

And  rap  me  well,  or  I  '11  knock  your  knave's  pate. 

Grii.  My  master  is  grown  quarrelsome.    I  should  knock 
you  first. 
And  then  I  know  after  who  comes  by  the  worst. 

Pet.  Will  it  not  be? 

Faith,  sirrah,  an  you  '11  not  knock,  I  '11  ring  it; 
I  '11  try  how  you  can  sol,  fa,  and  sing  it. 

{He  zvrings  him  by  the  ears. 

Gru.  Help,  masters,  help!  my  master  is  mad. 

Pet.  Now,  knock  when  I  bid  you,  sirrah  villain! 

Enter  Hortensio. 

Hor.  How  now!  what 's  the  matter?     My  old  friend    20 
Grumio!   and  my  good  friend  Petruchio!    How 
do  you  all  at  Verona? 

Pet.  Signicr  Hortensio,  come  you  to  part  the  fray? 
*  Con  tutto  il  core  ben  trovato,'  may  I  say. 

40 


OF  THE  SHREW  Act  I.  Sc.  ii. 

Hor.  '  Alia  nostra  casa  ben  venuto,  molto  honorato 
signor  mio  Petrucio.' 
Rise,  Grumio,  rise:   we  will  compound  this  quarrel. 

Gru.  Nay,  'tis  no  matter,  sir,  what  he  'leges  in  Latin. 
If  this  be  not  a  lawful  cause  for  me  to  leave  his 
service,  look  you,  sir,  he  bid  me  knock  him  and  30 
rap  him  soundly,  sir:  well,  was  it  fit  for  a 
servant  to  use  his  master  so,  being  perhaps,  for 
aught  I  see,  two-and-thirty,  a  pip  out? 
Whom  would  to  God  I  had  well  knock'd  at  first, 
Then  had  not  Grumio  come  by  the  worst. 

Pet.  A  senseless  villain!  Good  Hortensio, 
I  bade  the  rascal  knock  upon  your  gate 
And  could  not  get  him  for  my  heart  to  do  it. 

Gru.  Knock  at  the  gate!     O  heavens!     Spake  you 

not  these  words  plain,  '  Sirrah,  knock  me  here,     40 
rap  me  here,   knock  me  well,  and  knock  me 
soundly  '?    And  come  you  now  with,  '  knocking 
a.t  the  gate  '? 

Pet.  Sirrah,  be  gone,  or  talk  not,  I  advise  you. 

Hor.  Petruchio,  patience;   I  am  Grumio's  pledge: 
Why,  this  's  a  heavy  chance  'twixt  him  and  you, 
Your  ancient,  trusty,  pleasant  servant  Grumio.. 
And  tell  me  now,  sweet  friend,  what  happy  gale 
Blows  you  to  Padua  here  from  old  Verona? 

Pet.  Such  wand  as  scatters  young  men  through  the 

world,  50 

To  seek  their  fortunes  farther  than  at  home. 
Where  small  experience  grows.    But  in  a  few, 
Siguier  Hortensio,  thus  it  stands  with  me : 
Antonio,  my  father,  is  deceased; 
And  I  have  thrust  myself  into  this  maze, 

41 


Act  I.  Sc.  ii.  THE  TAMING 

Haply  to  wive  and  thrive  as  best  I  may: 
Crowns  in  my  purse  I  have  and  goods  at  home, 
And  so  am  come  abroad  to  see  the  world. 

Hot.  Petruchio,  shall  I  then  come  roundly  to  thee, 

And  wish  thee  to  a  shrewd  ill-favour'd  wife?  60 

Thou  'Idst  thank  me  but  a  Httle  for  my  counsel: 
And  yet  I'll  promise  thee  she  shall  be  rich, 
And  very  rich:  but  thou  'rt  too  much  my  friend, 
And  I  '11  not  wish  thee  to  her. 

Pet.  Signior  Hortensio,  'twixt  such  friends  as  we 
Few  words  suffice ;  and  therefore,  if  thou  know 
One  rich  enough  to  be  Petruchio's  wife. 
As  wealth  is  burden  of  my  wooing  dance. 
Be  she  as  foul  as  was  Florentius'  love. 
As  old  as  Sibyl,  and  as  curst  and  shrewd  70 

As  Socrates'  Xanthippe,  or  a  worse, 
She  moves  me  not,  or  not  removes,  at  least, 
Affection's  edge  in  me,  were  she  as  rough 
As  are  the  swelling  Adriatic  seas : 
I  come  to  wive  it  wealthily  in  Padua ; 
If  wealthily,  then  happily  in  Padua. 

Gru.  Nay,  look  you,  sir,  he  tells  you  flatly  what  his 
mind  is:  why,  give  him  gold  enough  and  marry 
him  to  a  puppet  or  an  aglet-baby;  or  an  old  trot 
with  ne'er  a  tooth  in  her  head,  though  she  have  80 
as  many  diseases  as  two  and  fifty  horses:  why, 
nothing  comes  amiss,  so  money  comes  withal. 

Hor.  Petruchio,  since  we  are  stepp'd  thus  far  in, 
I  will  continue  that  I  broach'd  in  jest. 
I  can,  Petruchio,  help  thee  to  a  wife 
With  wealth  enough  and  young  and  beauteous, 
Brought  up  as  best  becomes  a  gentlewoman: 
42 


OF  THE  SHREW  Act  I.  Sc.  ii. 

Her  only  fault,  and  that  is  faults  enough, 
Is  that  she  is  intolerable  curst 
And  shrewd  and  froward,  so  beyond  all  meas- 
ure, 90 
That,  were  my  state  far  worser  than  it  is, 
I  would  not  wed  her  for  a  mine  of  gold. 

Pet.  Hortensio,  peace!   thou  know'st  not  gold's  effect : 
Tell  me  her  father's  name  and  'tis  enough ; 
For  I  will  board  her,  though  she  chide  as  loud 
As  thunder  when  the  clouds  in  autumn  crack. 

Hor.  Her  father  is  Baptista  IMinola, 

An  affable  and  courteous  gentleman: 

Her  name  is  Katharina  Minola, 

Renown'd  in  Padua  for  her  scolding  tongue.         loo 

Pet.  I  know  her  father,  though  I  know  not  her; 
And  he  knew  my  deceased  father  well. 
I  will  not  sleep,  Hortensio,  till  I  see  her; 
And  therefore  let  me  be  thus  bold  with  you 
To  give  you  over  at  this  first  encounter, 
Unless  you  will  accompany  me  thither. 

Gru.  I  pray  you,  sir,  let  him  go  while  the  humour 
lasts.  O'  my  word,  an  she  knew  him  as  well  as 
I  do,  she  would  think  scolding  would  do  little 
good  upon  him:  she  may  perhaps  call  him  half  no 
a  score  knaves  or  so:  why,  that's  nothing;  an 
he  begin  once,  he  '11  rail  in  his  rope-tricks.  I  '11 
tell  you  what,  sir,  an  she  stand  him  but  a  little, 
he  win  throw  a  figure  in  her  face  and  so  dis- 
figure her  with  it  that  she  shall  have  no  more 
eyes  to  see  withal  than  a  cat.  You  know  him 
not,  sir. 

Hor.  Tarry,  Petruchio,  I  must  go  with  thee; 
For  in  Baptista's  keep  my  treasure  is: 
He  hath  the  jewel  of  my  life  in  hold, 

43 


Act  I.  Sc.  ii.  THE  TAMING 

His  youngest  daughter,  beautiful  Bianca;  120 

And  her  withholds  from  me  and  other  more, 

Suitors  to  her  and  rivals  in  my  love; 

Supposing  it  a  thing  impossible, 

For  those  defects  I  have  before  rehearsed, 

That  ever  Katharina  will  be  woo'd; 

Therefore  this  order -hath  Baptista  ta'en, 

That  none  shall  have  access  unto  Bianca 

Till  Katharine  the  curst  have  got  a  husband. 

Grn.  Katharine  the  curst! 

A  title  for  a  maid  of  all  titles  the  worst.  130 

Hor.  Now  shall  my  friend  Petruchio  do  me  grace; 
And  offer  me  disguised  in  sober  robes 
To  old  Baptista  as  a  schoolmaster 
Well  seen  in  music,  to  instruct  Bianca; 
That  so  I  may,  by  this  device,  at  least 
Have  leave  and  leisure  to  make  love  to  her. 
And  unsuspected  court  her  by  herself. 

G)'i[.  Here's  no  knavery!  See,  to  beguile  the  old 
folks,  how  the  young  folks  lay  their  heads  to- 
gether! 140 

Enter  Grcinio  and  Luccntio  disguised. 

blaster,  master,  look  about  you:  who  goes  there,  ha? 
Hor.  Peace,  Grumio!   it  is  the  rival  of  my  love. 

Petruchio,  stand  by  a  while. 
Gni.  A  proper  stripling  and  an  amorous! 
Grc.  O,  very  well;   I  have  perused  the  note. 

Hark  you,  sir;   I  '11  have  them  very  fairly  bound: 

All  books  of  love,  see  that  at  any  hand; 

And  see  you  read  no  other  lectures  to  her: 

You  understand  me:  over  and  beside 

Signior  Baptista's  liberality,  150 

44 


OF  THE  SHREW  Act  I.  Sc.  ii. 

I  '11  mend  it  with  a  largess.    Take  your  paper  too, 
And  let  me  have  them  very  well  perfumed: 
For  she  is  sweeter  than  perfume  itself 
To  whom  they  go  to.    What  will  you  read  to  her? 

Luc.  Whate'er  I  read  to  her,  I  '11  plead  for  you 
As  for  my  patron,  stand  you  so  assured, 
As  firmly  as  yourself  were  still  in  place: 
Yea,  and  perhaps  with  more  successful  words 
Than  you,  unless  you  were  a  scholar,  sir. 

Grc.  O  this  learning,  what  a  thing  it  is!  i6o 

Gru.  O  this  woodcock,  what  an  ass  it  is! 

Pet.  Peace,  sirrah! 

Hor.  Grumio,  mum!    God  save  you,  Signior  Gremio. 

Git.  And  you  are  well  met,  Signior  Hortensio. 

Trow  you  whither  I  am  going?    To  Baptista  Minola. 

I  promised  to  inquire  carefully 

About  a  schoolmaster  for  the  fair  Bianca: 

And  by  good  fortune  I  have  lighted  well 

On  this  young  man,  for  learning  and  behaviour 

Fit  for  her  turn,  well  read  in  poetry  170 

And  other  books,  good  ones,  I  warrant  ye. 

Hor.  'Tis  well;  and  I  have  met  a  gentleman 
Hath  promised  me  to  help  me  to  another, 
A  fine  musician  to  instruct  our  mistress; 
So  shall  I  no  whit  be  behind  in  duty 
To  fair  Bianca,  so  beloved  of  me. 

Gre.  Beloved  of  me;  and  that  my  deeds  shall  prove. 

Gru.  And  that  his  bags  shall  prove. 

Hor.  Gremio,  'tis  now  no  time  to  vent  our  love: 

Listen  to  me,  and  if  you  speak  me  fair,  180 

I  '11  tell  you  news  indififerent  good  for  either. 
Here  is  a  gentleman  whom  by  chance  I  met, 

45 


Act  I.  Sc.  ii.  THE  TAMING 

Upon  agreement  from  us  to  his  liking, 
Will  undertake  to  woo  curst  Katharine, 
Yea,  and  to  marry  her,  if  her  dowry  please. 

Grc.   So  said,  so  done,  is  well. 

Hortensio,  have  you  told  him  all  her  faults? 

Pet.  I  know  she  is  an  irksome  brawling  scold: 
If  that  be  all,  masters,  I  hear  no  harm. 

Gj-e.  No,  say'st  me  so,  friend?    What  countryman?     190 

Pet.  Born  in  Verona,  old  Antonio's  son: 

]\Iy  father  dead,  my  fortune  lives  for  me; 
And  I  do  hope  good  days  and  long  to  see. 

Ore.  O  sir,  such  a  life,  with  such  a  wife,  were  strange! 
But  if  you  have  a  stomach,  to  't  i'  God's  name : 
You  shall  have  me  assisting  you  in  all. 
But  will  you  woo  this  wild-cat? 

Pet.  Will  I  live? 

Gru.  Will  he  woo  her  ?  ay,  or  I  '11  hang  her. 

Pet.  WHiy  came  I  hither  but  to  that  intent? 

Think  you  a  little  din  can  daunt  mine  ears?  200 

Have  I  not  in  my  time  heard  lions  roar? 

Have  I  not  heard  the  sea  puff 'd  up  with  winds 

Rage  like  an  angry  boar  chafed  with  sweat? 

Have  I  not  heard  great  ordnance  in  the  field, 

And  heaven's  artillery  thunder  in  the  skies? 

Have  I  not  in  a  pitched  battle  heard 

Loud  'larums,  neighing  steeds,  and  trumpets'  clang? 

And  do  you  tell  me  of  a  woman's  tongue, 

That  gives  not  half  so  great  a  blow  to  hear 

As  will  a  chestnut  in  a  farmer's  fire?  210 

Tush,  tush!    fear  boys  with  bugs. 

Gru.  For  he  fears  none. 

Gre.  Hortensio,  hark: 

46 


OF  THE  SHREW  Act  I.  Sc.  ii. 

This  gentleman  is  happily  arrived, 

My  mind  presumes,  for  his  own  good  and  ours. 

Hor.  I  promised  we  would  be  contributors 

And  bear  his  charge  of  wooing,  whatsoe'er. 

Gre.  And  so  we  will,  provided  that  he  win  her. 

Grii.  I  would  I  were  as  sure  of  a  good  dinner. 

Enter  Tranio  brave,  and  Biondello. 

Tra.  Gentlemen,  God  save  you.    If  I  may  be  bold, 

Tell  me,  I  beseech  you,  which  is  the  readiest  way 

To  the  house  of  Signior  Baptista  Minola?  221 

Bion.  He  that  has  the  two  fair  daughters :    is  't  he 

you  mean? 
Tra.  Even  he,  Biondello. 
Ore.  Hark  you,  sir;  you  mean  not  her  to — 
Tra.  Perhaps,  him  and  her,  sir :   what  have  you  to  do  ? 
Pet.  Not  her  that  chides,  sir,  at  any  hand,  I  pray. 
Tra.  I  love  no  chiders,  sir.    Biondello,  let 's  away. 
Luc.  Well  begun,  Tranio. 
Hor.  Sir,  a  word  ere  you  go  ; 

Are  you  a  suitor  to  the  maid  you  talk  of,  yea  or  no? 
Tra.  And  if  I  be,  sir,  is  it  any  offence?  231 

Gre.  No ;   if  without  more  words  you  will  get  you  hence. 
Tra.  Why,  sir,  I  pray,  are  not  the  streets  as  free 

For  me  as  for  you? 
Gre,  But  so  is  not  she. 

Tra.  For  what  reason,  I  beseech  you  ? 
Gre,  For  this  reason,  if  you  '11  know, 

That  she  's  the  choice  love  of  Signior  Gremio. 
Hor.  That  she  's  the  chosen  of  Signior  Hortensio. 
Tra.  Softly,  my  masters  !   if  you  be  gentlemen, 

Do  me  this  right ;  hear  me  with  patience. 

47 


Act  I.  Sc.  ii.  THE  TAMING 

Baptista  is  a  noble  gentleman,  240 

To  whom  my  father  is  not  all  unknown ; 
And  were  his  daughter  fairer  than  she  is, 
She  may  more  suitors  have  and  me  for  one. 
Fair  Leda's  daughter  had  a  thousand  wooers ; 
Then  well  one  more  may  fair  Bianca  have : 
And  so  she  shall ;   Lucentio  shall  make  one, 
Though  Paris  came  in  hope  to  speed  alone. 

Gre.  What,  this  gentleman  will  out-talk  us  all ! 

Luc.  Sir,  give  him  head :  I  know  he  '11  prove  a  jade. 

Pet.  Hortensio,  to  what  end  are  all  these  words?  250 

Hor.  Sir,  let  me  be  so  bold  as  ask  you. 

Did  you  ever  see  Baptista's  daughter? 

Tra.  No,  sir ;  but  hear  I  do  that  he  hath  two, 
The  one  as  famous  for  a  scolding  tongue 
As  is  the  other  for  beauteous  modesty. 

Pet.  Sir,  sir,  the  first 's  for  me ;  let  her  go  by. 

Gre.  Yea,  leave  that  labour  to  great  Hercules ; 
And  let  it  be  more  than  Alcides'  twelve. 

Pet.  Sir,  understand  you  this  of  me  in  sooth : 

The  youngest  daughter  wdiom  you  hearken  for      260 

Her  father  keeps  from  all  access  of  suitors ; 

And  will  not  promise  her  to  any  man 

Until  the  elder  sister  first  be  wed : 

The  younger  then  is  free  and  not  before. 

Tra.  If  it  be  so,  sir,  that  you  are  the  man 

Must  stead  us  all  and  me  amongst  the  rest ; 

And  if  you  break  the  ice  and  do  this  feat. 

Achieve  the  elder,  set  the  younger  free 

For  our  access,  whose  hap  shall  be  to  have  her 

Will  not  so  graceless  be  to  be  ingrate.  270 

Hor.  Sir,  you  say  well  and  well  you  do  conceive ; 

48 


OF  THE  SHREW  Act  II.  Sc.  i. 

And  since  you  do  profess  to  be  a  suitor, 
You  must,  as  we  do,  .gratify  this  gentleman, 
To  whom  we  all  rest  generally  beholding. 

Tra.  Sir,  I  shall  not  be  slack :   in  sign  whereof, 
Please  ye  we  may  contrive  this  afternoon, 
And  quaff  carouses  to  our  mistress'  health. 
And  do  as  adversaries  do  in  law, 
Strive  mightily,  but  eat  and  drink  as  friends. 

Gnc.  Bion.  O  excellent  motion  !    Fellows,  let 's  be  gone. 

Hor.  The  motion  's  good  indeed  and  be  it  so,  281 

Petruchio,  I  shall  be  your  ben  venuto.  [Exeunt, 


ACT  SECOND. 
Scene  I. 

Padua.    A  room  in  Baptista's  house. 
Enter  Katharina  and  Bianca. 

Bian.  Good  sister,  wrong  me  not,  nor  wrong  yourself. 
To  make  a  bondmaid  and  a  slave  of  me ; 
That  I  disdain  ;  but  for  these  other  gawds. 
Unbind  my  hands,  I  '11  pull  them  off  myself. 
Yea,  all  my  raiment  to  my  petticoat ; 
Or  what  you  will  command  me  will  I  do. 
So  well  I  know  my  duty  to  my  elders. 

Kath,  Of  all  thy  suitors,  here  I  charge  thee,  tell 

Whom  thou  lovest  best:    see  thou  dissemble  not. 

Bian.  Believe  me.  sister,  of  all  the  men  alive  10 

I  never  yet  beheld  that  special  face 
Which  I  could  fancy  more  than  any  other. 

Kath.  Minion,  thou  liest.     Is  't  not  Hortensio  ? 

Bian.  If  you  affect  him,  sister,  here  I  swear 

49 


Act  II.  Sc.  i.  THE  TAMING 

I  '11  plead  for  you  myself,  but  you  shall  have  him. 
Kath.  O  then,  belike,  you  fancy  riches  more : 

You  will  have  Gremio  to  keep  you  fair. 
Bian.  Is  it  for  him  you  do  envy  me  so? 

Nay  then  you  jest,  and  now  I  well  perceive 

You  have  but  jested  with  me  all  this  while :  20 

I  prithee,  sister  Kate,  untie  my  hands. 
Kath.  If  that  be  jest,  then  all  the  rest  was  so.  [Strikes  her. 

Enter  Baptista. 

Bap.  Why,  how  now,   dame!    whence  grows  this  inso- 
lence ? 

Bianca,  stand  aside.    Poor  girl !   she  weeps. 

Go  ply  thy  needle ;  meddle  not  with  her. 

For  shame,  thou  hilding  of  a  devilish  spirit, 

Why  dost  thou  wrong  her  that  did  ne'er  wrong  thee  ? 

When  did  she  cross  thee  with  a  bitter  word  ? 
Kath.  Her  silence  flouts  me,  and  I  '11  be  revenged. 

[Flies  after  Bianca. 
Bap.  What,  in  my  sight  ?    Bianca,  get  thee  in.  30 

[Exit  Bianca. 
Kath.  What,  will  you  not  suffer  me  ?    Nay,  now  I  see 

She  is  your  treasure,  she  must  have  a  husband ; 

I  must  dance  bare-foot  on  her  wedding  day 

And  for  your  love  to  her  lead  apes  in  hell. 

Talk  not  to  me :  I  will  go  sit  and  weep 

Till  I  can  find  occasion  of  revenge.  [Exit. 

Bap.  Was  ever  gentleman  thus  grieved  as  I  ? 

But  who  comes  here? 

Enter  Gremio,  Lucentio  in  the  habit  of  a  mean  man; 
Petnichio,  with  Hortensio  as  a  musician;  and  Tranio, 
with  Biondello  hearing  a  lute  and  hooks. 

Gre.  Good  morrow,  neighbour  Baptista. 

so 


OF  THE  SHREW  Act  II.  Sc.  i. 

Bap.  Good  morrow,  neighbour  Gremio.     God  save     40 
you,  gentlemen ! 

Pet.  And  you,  good  sir ;   Pray,  have  you  not  a  daughter 
Call'd  Katharina,  fair  and  virtuous  ? 

Bap,  I  have  a  daughter,  sir,  called  Katharina. 

Gre.  You  are  too  blunt :  go  to  it  orderly. 

Pet.  You  wrong  me,  Signior  Gremio :  give  me  leave. 
I  am  a  gentleman  of  Verona,  sir, 
That,  hearing  of  her  beauty  and  her  wit, 
Her  affability  and  bashful  modesty. 
Her  wondrous  qualities  and  mild  behaviour,  50 

Am  bold  to  show  myself  a  forward  guest 
Within  your  house,  to  make  mine  eye  the  witness 
Of  that  report  which  I  so  oft  have  heard. 
And,  for  an  entrance  to  my  entertainment, 
I  do  present  you  with  a  man  of  mine, 

[Presenting  Hortensio. 
Cunning  in  music  and  the  mathematics. 
To  instruct  her  fully  in  those  sciences. 
Whereof  I  know  she  is  not  ignorant : 
Accept  of  him,  or  else  you  do  me  wrong: 
His  name  is  Licio,  born  in  Mantua.  60 

Bap.  You  're  welcome,  sir ;  and  he,  for  your  good  sake. 
But  for  my  daughter  Katharine,  this  I  know. 
She  is  not  for  your  turn,  the  more  my  grief. 

Pet.  I  see  you  do  not  mean  to  part  with  her. 
Or  else  you  like  not  of  my  company. 

Bap.  Mistake  me  not ;   I  speak  but  as  I  find. 

Whence  are  you,  sir  ?  what  may  I  call  your  name  ? 

Pet.  Petruchio  is  my  name;  Antonio's  son, 
A  man  well  known  throughout  all  Italy. 

Bap.  I  know  him  well :  you  are  welcome  for  his  sake.    70 

51 


Act  II.  Sc.  i.  THE  TAMING 

Gre.  Saving  your  tale,  Petruchio,  I  pray, 

Let  us,  that  are  poor  petitioners,  speak  too : 
Baccare !  you  are  marvellous  forward. 

Pet.  O,  pardon  me,   Signior  Gremio;    I  would  fain  be 
doing. 

Gre.  I  doubt  it  not,  sir ;  but  you  will  curse  your  wooing. 
Neighbour,  this  is  a  gift  very  grateful,  I  am  sure 
of  it.  To  express  the  like  kindness,  myself, 
that  have  been  more  kindly  beholding  to  you  than 
any,  freely  give  unto  you  this  young  scholar 
[presenting  Lucentio],  that  hath  been  long  80 
studying  at  Rheims  ;  as  cunning  in  Greek,  Latin, 
and  other  languages,  as  the  other  in  music  and 
mathematics  :  his  name  is  Cambio ;  pray,  accept 
his  service. 

Bap.  A  thousand  thanks,  Signior  Gremio.  Welcome, 
good  Cambio.  But,  gentle  sir  [To  Tranio],  me- 
thinks  you  walk  like  a  stranger:  may  I  be  so 
bold  to  know  the  cause  of  your  coming  ? 

Tra.  Pardon  me,  sir,  the  boldness  is  mine  own ; 

That,  being  a  stranger  in  this  city  here,  90 

Do  make  myself  a  suitor  to  your  daughter. 

Unto  Bianca,  fair  and  virtuous. 

Nor  is  your  firm  resolve  unknown  to  me, 

In  the  preferment  of  the  eldest  sister. 

This  liberty  is  all  that  I  request. 

That,  upon  knowledge  of  my  parentage, 

I  may  have  welcome  'mongst  the  rest  that  woo 

And  free  access  and  favour  as  the  rest : 

And,  toward  the  education  of  your  daughters, 

I  here  bestow  a  simple  instrument,  100 

And  this  small  packet  of  Greek  and  Latin  books : 

If  you  accept  them,  then  their  worth  is  great. 

52 


OF  THE  SHREW  Act  II.  Sc.  i. 

Bap.  Lucentio  is  your  name ;  of  whence,  I  pray  ? 
Tra.  Of  Pisa,  sir ;  son  to  Vincentio. 
Bap.  A  mighty  man  of  Pisa ;  by  report 

I  know  him  well :  you  are  very  welcome,  sir. 

Take  you  the  lute,  and  you  the  set  of  books ; 

You  shall  go  see  your  pupils  presently. 

Holla,  within! 

Enter  a  Servant. 

Sirrah,  lead  these  gentlemen 
To  my  daughters  ;  and  tell  them  both  no 

These  are  their  tutors  :  bid  them  use  them  well. 

[Exit  Servant,  zuith  Luc.  and  Hot.,  Bion.  following. 
We  will  go  walk  a  little  in  the  orchard. 
And  then  to  dinner.    You  are  passing  welcome. 
And  so  I  pray  you  all  to  think  yourselves. 

Pet.  Signior  Baptista,  my  business  asketh  haste. 
And  every  day  I  cannot  come  to  woo. 
You  knew  my  father  well,  and  in  him  me. 
Left  solely  heir  to  all  his  lands  and  goods. 
Which  I  have  better'd  rather  than  decreased : 
Then  tell  me,  if  I  get  your  daughter's  love,  120 

What  dowry  shall  I  have  with  her  to  wife  ? 

Bap.  After  my  death  the  one  half  of  my  lands. 
And  in  possession  twenty  thousand  crowns. 

Pet.  And,  for  that  dowry,  I  '11  assure  her  of 

Her  widowhood,  be  it  that  she  survive  me, 
In  all  my  lands  and  leases  whatsoever : 
Let  specialties  be  therefore  drawn  between  us, 
That  covenants  may  be  kept  on  either  hand. 

Bap.  Ay,  when  the  special  thing  is  well  obtain'd, 

That  is,  her  love ;  for  that  is  all  in  all.  130 

53 


Act  11.  Sc.  i.  THE  TAMING 

Pet,  Why,  that  is  nothing ;  for  I  tell  you,  father, 
I  am  as  peremptory  as  she  proud-minded ; 
And  where  two  raging  fires  meet  together 
They  do  consume  the  thing  that  feeds  their  fury : 
Though  little  fire  grows  great  with  little  wind. 
Yet  extreme  gusts  will  blow  out  fire  and  all : 
So  I  to  her  and  so  she  yields  to  me ; 
For  I  am  rough  and  woo  not  like  a  babe. 

Bap.  Well  mayst  thou  woo,  and  happy  be  thy  speed ! 

But  be  thou  arm'd  for  some  unhappy  words.  140 

Pet.  Ay,  to  the  proof ;  as  mountains  are  for  winds, 
That  shake  not,  though  they  blow  perpetually. 

Re-enter  Hortcnsio,  with  his  head  broke. 

Bap.  How  now,  my  friend !   why  dost  thou  look  so  pale  ? 

Hor.  For  fear,  I  promise  you,  if  I  look  pale. 

Bap.  What,  will  my  daughter  prove  a  good  musician  ? 

Hor.  I  think  she  '11  sooner  prove  a  soldier. 
Iron  may  hold  with  her,  but  never  lutes. 

Bap.  Why,  then  thou  canst  not  break  her  to  the  lute? 

Hor.  Why,  no ;  for  she  hath  broke  the  lute  to  me. 

I  did  but  tell  her  she  mistook  her  frets,  150 

And  bow'd  her  hand  to  teach  her  fingering ; 
When,  with  a  most  impatient  devilish  spirit, 
'  Frets,  call  you  these  ?  '  quoth  she ;   'I  '11  fume  with 

them ' : 
And,  with  that  word,  she  struck  me  on  the  head. 
And  through  the  instrument  my  pate  made  way ; 
And  there  I  stood  amazed  for  a  while. 
As  on  a  pillory,  looking  through  the  lute ; 
While  she  did  call  me  rascal  fiddler 
And  twangling  Jack  ;  with  twenty  such  vile  terms, 

54 


OF  THE  SHREW  Act  II.  Sc.  i. 

As  she  had  studied  to  misuse  me  so.  i6o 

Pet.  Now,  by  the  world,  it  is  a  histy  wench  ; 
I  love  her  ten  times  more  than  e'er  I  did : 
O,  how  I  long  to  have  some  chat  with  her ! 

Bap.  Well,  go  with  me  and  be  not  so  discomfited : 
Proceed  in  practice  with  my  younger  daughter ; 
She  's  apt  to  learn  and  thankful  for  good  turns. 
Signior  Petruchio,  will  you  go  with  us, 
Or  shall  I  send  my  daughter  Kate  to  you? 

Pet.  I  pray  you  do ;   I  will  attend  her  here, 

[Exeunt  Baptista,  Gremio,  Tranio,  and  Hortensio. 
And  woo  her  with  some  spirit  when  she  comes.     170 
Say  that  she  rail ;  why  then  I  '11  tell  her  plain 
She  sings  as  sweetly  as  a  nightingale  ; 
Say  that  she  frown ;  I  '11  say  she  looks  as  clear 
As  morning  roses  newly  wash'd  with  dew ; 
Say  she  be  mute  and  will  not  speak  a  word : 
Then  I  '11  commend  her  volubility. 
And  say  she  uttereth  piercing  eloquence : 
If  she  do  bid  me  pack,  I  '11  give  her  thanks. 
As  though  she  bid  me  stay  by  her  a  week : 
If  she  deny  to  wed,  I  'U  crave  the  day  ^     180 

When  I  shall  ask  the  banns,  and  when  be  married. 
But  here  she  comes  ;  and  now,  Petruchio,  speak. 

Enter  Katharina. 

Good  morrow,  Kate ;  for  that 's  your  name,  I  Hear. 
Kath.  Well   have   you   heard,   but    something   hard    of 
hearing : 

They  call  me  Katharine  that  do  talk  of  me. 
Pet.  You  lie,  in  faith  ;  for  you  are  call'd  plain  Kate, 

And  bonny  Kate,  and  sometimes  Kate  the  curst  ; 

55 


Act  II.  Sc.  i.  THE  TAMING 

But  Kate,  the  prettiest  Kate  in  Christendom, 
Kate  of  Kate-Hall,  my  super-dainty  Kate, 
For  dainties  are  all  Kates,  and  therefore,  Kate,     190 
Take  this  of  me,  Kate  of  my  consolation ; 
Hearing  thy  mildness  praised  in  every  town, 
Thy  virtues  spoke  of,  and  thy  beauty  sounded. 
Yet  not  so  deeply  as  to  thee  belongs, 
Alyself  am  moved  to  woo  thee  for  my  wife. 

Kath.  Aloved !    in  good  time :    let  him  that  moved  you 
hither. 
Remove  you  hence  :  I  knew  you  at  the  first 
You  were  a  moveable. 

Pet.  Why,  what  's  a  moveable  ? 

Kath.  A  join'd-stool. 

Pet.  Thou  hast  hit  it :   come,  sit  on  me. 

Kath.  Asses  are  made  to  bear,  and  so  are  you.  200 

Pet.  Women  are  made  to  bear,  and  so  are  you. 

Kath.  Xo  such  jade  as  you,  if  me  you  mean. 

Pet.  Alas,  good  Kate,  I  will  not  burden  thee ! 

For,  knowing  thee  to  be  but  young  and  light, — 

Kath.  Too  light  for  such  a  swain  as  you  to  catch ; 
And  yet  as  heavy  as  my  weight  should  be. 

Pet.  Should  be !   should — buzz ! 

Kath.  Well  ta'en,  and  like  a  buzzard. 

Pet.  O  slow-wing' d  turtle!    shall  a  buzzard  take  thee! 

Kath.  Ay,  for  a  turtle,  as  he  takes  a  buzzard. 

Pet.  Come,  come,  you  wasp ;  i'  faith,  you  are  too  angry. 

Kath.  If  I  be  waspish,  best  beware  my  sting.  211 

Pet.  My  remedy  is  then,  to  pluck  it  out. 

Kath.  Ay,  if  the  fool  could  find  it  where  it  lies. 

Pet.  Who  knows  not  where  a  wasp  does  wear  his 
sting  ?    In  his  tail. 

56 


OF  THE  SHREW  Act  II.  Sc.  i. 

Kath.  In  his  tongue. 

Pet.  Whose  tongue  ? 

Kath.  Yours,  if  you  talk  of  tails :   and  so  farewell. 

fct.  What,  with  my  tongue  in  your  tail  ?  nay,  come  again, 

Good  Kate ;    I  am  a  gentleman. 
Kath.  That  I  '11  try.         [She  strikes  him.     220 

Pet.  I  swear  I  '11  cuff  you,  if  you  strike  again. 
Kath.  So  may  you  lose  your  arms : 

If  you  strike  me,  you  are  no  gentleman ; 

And  if  no  gentleman,  why  then  no  arms. 
Pet.  A  herald,  Kate  ?     O,  put  me  in  thy  books ! 
Kath.  What  is  your  crest?   a  coxcomb? 
Pet.  A  combless  cock,  so  Kate  will  be  my  hen. 
Kath.  No  cock  of  mine ;  you  crow  too  like  a  craven. 
Pet.  Xay,  come,  Kate,  come ;  you  must  not  look  so  sour. 
Kath.  It  is  my  fashion,  when  I  see  a  crab.  230 

Pet.  Why,  here  's  no  crab ;  and  therefore  look  not  sour. 
Kath.  There  is,  there  is. 
Pet.  Then  show  it  me. 

Kath.  Had  I  a  glass,  I  would. 

Pet.  What,  you  mean  my  face? 

Kath.  Well  aim'd  of  such  a  young  one. 

Pet.  Now,  by  Saint  George,  I  am  too  young  for  you. 
Kath.  Yet  you  are  wither'd. 

Pet.  'Tis   with    cares.  240 

Kath.  I  care  not. 

Pet.  Nay,  hear  you,  Kate :   in  sooth  you  scape  not  so. 
Kath.  I  chafe  you,  if  I  tarry :   let  me  go. 
Pet.  No,  not  a  whit :  I  find  you  passing  gentle. 

'Twas  told  me  you  were  rough  and  coy  and  sullen, 

And  now  I  find  report  a  very  liar ; 

For  thou  art  pleasant,  gamesome,  passing  courteous, 

57 


Act  II.  Sc.  i.  THE  TAMING 

But  slow  in  speech,  yet  sweet  as  spring-time  flowers : 

Thou  canst  not  frown,  thou  canst  not  look  askance, 

Nor  bite  the  lip,  as  angry  wenches  will,  250 

Nor  hast  thou  pleasure  to  be  cross  in  talk, 

But  thou  with  mildness  entertain'st  thy  wooers, 

With  gentle  conference,  soft  and  affable. 

Why  does  the  world  report  that  Kate  doth  limp? 

O  slanderous  world!     Kate  like  the  hazel-twig 

Is  straight  and  slender,  and  as  brown  in  hue 

As  hazel-nuts  and  sweeter  than  the  kernels. 

O,  let  me  see  thee  walk :  thou  dost  not  halt. 

Kath.  Go,  fool,  and  whom  thou  keep'st  command. 

Pet.  Did  ever  Dian  so  become  a  grove  260 

As  Kate  this  chamber  with  her  princely  gait  ? 
O,  be  thou  Dian,  and  let  her  be  Kate ; 
And  then  let  Kate  be  chaste  and  Dian  sportful ! 

Kath.  Where  did  you  study  all  this  goodly  speech  ? 

Pet.  It  is  extempore,  from  my  mother-wit. 

Kath.  A  witty  mother !   witless  else  her  son. 

Pet.  Am  I  not  wise  ? 

Kath.  Yes ;   keep  you  warm. 

Pet.  IMarry,  so  I  mean,  sweet  Katharine,  in  thy  bed : 

And  therefore,  setting  all  this  chat  aside,  270 

Thus  in  plain  terms  :  your  father  hath  consented 
That  you  shall  be  my  wife ;  your  dowry  'greed  on ; 
And,  will  you,  nill  you,  I  will  marry  you. 
Now,  Kate,  I  am  a  husband  for  your  turn  ; 
For,  by  this  light,  whereby  I  see  thy  beauty, 
Thy  beauty,  that  doth  make  me  like  thee  well, 
Thou  must  be  married  to  no  man  but  me ; 
For  I  am  he  am  born  to  tame  you,  Kate, 
And  bring  you  from  a  wild  Kate  to  a  Kate 

58 


OF  THE  SHREW  Act  II.  Sc.  i. 

Conformable  as  other  household  Kates.  280 

Here  comes  your  father  :  never  make  denial ; 
I  must  and  will  have  Katharina  to  my  wife. 

Re-enter  Baptista,  Gremio,  and  Tranio. 

Bap.  Now,  Signior  Petruchio,  how  speed  you  with  my 

daughter  ? 
Pet.  How  but  well,  sir?   how  but  well? 

It  were  impossible  I  should  speed  amiss. 
Bap.  Why,    how    now,    daughter    Katharine !     in    your 

dumps  ? 
Kath.  Call  you  me  daughter  ?  now,  I  promise  you 

You  have  show'd  a  tender  fatherly  regard, 

To  w^ish  me  wed  to  one  half  lunatic ; 

A  mad-cap  ruffian  and  a  swearing  Jack,  290 

That  thinks  with  oaths  to  face  the  matter  out. 
Pet.  Father,  'tis  thus  :  yourself  and  all  the  world, 

That  talk'd  of  her,  have  talk'd  amiss  of  her : 

If  she  be  curst,  it  is  for  policy. 

For  she  's  not  f  roward,  but  modest  as  the  dove ; 

She  is  not  hot,  but  temperate  as  the  morn; 

For  patience  she  will  prove  a  second  Grissel, 

And  Roman  Lucrece  for  her  chastity 

And  to  conclude,  we  have  'greed  so  well  together. 

That  upon  Sunday  is  the  wedding-day.  300 

Kath.  I  '11  see  thee  hang'd  on  Sunday  first. 
Gre.  Hark,  Petruchio ;    she  says  she  '11  see  thee  hang'd 

first. 
Tra.  Is  this  your  speeding?    nay,  then,  good  night  our 

part! 
Pet.  Be  patient,  gentlemen  ;  I  choose  her  for  myself : 

If  she  and  I  be  pleased,  what 's  that  to  you  ? 


Act  II.  Sc.  i.  THE  TAMING 

'Tis  bargain'd  'twixt  us  twain,  being  alone, 

That  she  shall  still  be  curst  in  company. 

I  tell  you,  'tis  incredible  to  believe 

How  much  she  loves  me :   O,  the  kindest  Kate ! 

She  hung  about  my  neck ;  and  kiss  on  kiss  310 

She  vied  so  fast,  protesting  oath  on  oath. 

That  in  a  twink  she  won  me  to  her  love. 

O,  you  are  novices !   'tis  a  world  to  see, 

How  tame,  when  men  and  women  are  alone, 

A  meacock  wretch  can  make  the  curstest  shrew. 

Give  me  thy  hand,  Kate :   I  will  unto  Venice, 

To  buy  apparel  'gainst  the  wedding-day. 

Provide  the  feast,  father,  and  bid  the  guests ; 

I  will  be  sure  my  Katharine  shall  be  fine. 

Bap.  I  know  not  what  to  say  :  but  give  me  your  hands  ; 
God  send  you  joy,  Petruchio!   'tis  a  match.  321 

Gre.  Tra.  Amen,  say  we :  we  will  be  witnesses. 

Pet.  Father,  and  wife,  and  gentlemen,  adieu ; 
I  will  to  Venice ;   Sunday  comes  apace 
We  will  have  rings,  and  things,  and  fine  array ; 
And,  kiss  me,  Kate,  we  w411  be  married  o'  Sunday. 

[Exeunt  Petruchio  and  Katharina  severally. 

Gre.  Was  ever  match  clapp'd  up  so  suddenly  ? 

Bap.  Faith,  gentlemen,  now  I  play  a  merchant's  part, 
And  venture  madly  on  a  desperate  mart. 

Tra.  'Twas  a  commodity  lay  fretting  by  you  :  330 

'Twill  bring  you  gain,  or  perish  on  the  seas. 

Bap.  The  gain  I  seek  is  quiet  in  the  match. 

Gre.  No  doubt  but  he  hath  got  a  quiet  catch. 

But  now,  Baptista,  to  your  younger  daughter : 
Now  is  the  day  we  long  have  looked  for : 
I  am  your  neighbour,  and  was  suitor  first. 

60 


OF  THE  SHREW  Act  II.  Sc.  l 

Tra.  And  I  am  one  that  love  Bianca  more 

Than  words  can  witness,  or  your  thoughts  can  guess. 

Gre.  YoungHng,  thou  canst  not  love  so  dear  as  I. 

Tra.  Greybeard,  thy  love  doth  freeze. 

Gre.  But  thine  doth  fry.  340 

Skipper,  stand  back :   'tis  age  that  nourisheth. 

Tra.  But  youth  in  ladies'  eyes  that  flourisheth. 

Bap.  Content  you,  gentlemen  :  I  will  compound  this  strife. 
'Tis  deeds  must  win  the  prize ;  and  he,  of  both, 
That  can  assure  my  daughter  greatest  dower 
Shall  have  my  Bianca's  love. 
Say,  Signior  Gremio,  what  can  you  assure  her? 

Gre.  First,  as  you  know,  my  house  within  the  city 
Is  richly  furnished  with  plate  and  gold ; 
Basins  and  ewers  to  lave  her  dainty  hands ;  350 

My  hangings  all  of  Tyrian  tapestry ; 
In  ivory  coffers  I  have  stuff'd  my  crowns ; 
In  cypress  chests  my  arras  counterpoints, 
Costly  apparel,  tents,  and  canopies, 
Fine  linen,  Turkey  cushions  boss'd  with  pearl, 
Valance  of  Venice  gold  in  needlework, 
Pewter  and  brass  and  all  things  that  belong 
To  house  or  housekeeping :  then,  at  my  farm 
I  have  a  hundred  milch-kine  to  the  pail, 
Sixscore  fat  oxen  standing  in  my  stalls,  360 

And  all  things  answerable  to  this  portion. 
Myself  am  struck  in  years,  I  must  confess ; 
And  if  I  die  to-morrow,  this  is  hers. 
If  whilst  I  live  she  will  be  only  mine. 

Tra.  That  '  only  '  came  Well  in.    Sir,  list  to  me : 
I  am  my  father's  heir  and  only  son : 
If  I  may  have  your  daughter  to  my  wife, 

61 


Act  II.  Sc.  i.  THE  TAMING 

I  '11  leave  her  houses  three  or  four  as  good, 

Within  rich  Pisa  walls,  as  any  one 

Old  Signior  Gremio  has  in  Padua ;  370 

Besides  two  thousand  ducats  by  the  year 

Of  fruitful  land,  all  which  shall  be  her  jointure. 

What,  have  I  pinch'd  you,  Signior  Gremio? 

Grc.  Two  thousand  ducats  by  the  year  of  land ! 
My  land  amounts  not  to  so  much  in  all : 
That  she  shall  have ;  besides  an  argosy 
That  now  is  lying  in  Marseilles'  road. 
What,  have  I  choked  you  with  an  argosy? 

Tra.  Gremio,  'tis  known  my  father  hath  no  less  379 

Than  three  great  argosies ;  besides  two  galliasses. 
And  twelve  tight  galleys :  these  I  will  assure  her, 
And  twice  as  much,  whate'er  thou  offer'st  next. 

Gre.  Nay,  I  have  offer'd  all,  I  have  no  more ; 
And  she  can  have  no  more  than  all  I  have : 
If  you  like  me,  she  shall  have  me  and  mine. 

Tra.  Why,  then  the  maid  is  mine  from  all  the  world, 
By  your  firm  promise :   Gremio  is  out-vied. 

Bap.  I  must  confess  your  offer  is  the  best ; 

And,  let  your  father  make  her  the  assurance. 

She  is  your  own  ;  else,  you  must  pardon  me,  390 

If  you  should  die  before  him,  where  's  her  dower? 

Tra.  That 's  but  a  cavil :   he  is  old,  I  young. 

Gre.  And  may  not  young  men  die,  as  well  as  old  ? 

Bap.  Well,  gentlemen, 

I  am  thus  resolved :   on  Sunday  next  you  know 
My  daughter  Katharine  is  to  be  married : 
Now,  on  the  Sunday  following,  shall  Bianca 
Be  bride  to  you,  if  you  make  this  assurance ; 
If  not,  to  Signior  Gremio : 
62 


OF  THE  SHREW  Act  III.  Sc.  i. 

And  so,  I  take  my  leave,  and  thank  you  both.         400 
Gre.  Adieu,  good  neighbour.  [Exit  Baptista. 

Now  I  fear  thee  not : 
Sirrah,  young  gamester,  your  father  were  a  fool 
To  give  thee  all,  and  in  his  waning  age 
Set  foot  under  thy  table :   tut,  a  toy ! 
An  old  Italian  fox  is  not  so  kind,  my  boy.  [Exit. 

Tra.  A  vengeance  on  your  crafty  wither'd  hide ! 
Yet  I  have  faced  it  with  a  card  of  ten, 
'Tis  in  my  head  to  do  my  master  good : 
I  see  no  reason  but  supposed  Lucentio 
Must  get  a  father,  call'd — supposed  Vincentio ;     410 
And  that 's  a  wonder :    fathers  commonly 
Do  get  their  childern ;  but  in  this  case  of  wooing, 
A  child  shall  get  a  sire,  if  I  fail  not  of  my  cunning. 

[Exit. 

ACT   THIRD. 
Scene  I. 

Padua.     Baptista' s  house. 
Enter  Lucentio,  Hortensio,  and  Bianca. 

Lite.  Fiddler,  forbear;  you  grow  too  forward,  sir: 
Have  you  so  soon  forgot  the  entertainment 
Her  sister  Katharine  welcomed  you  withal? 

Hor.  But,  wrangling  pedant,  this  is 

The  patroness  of  heavenly  harmony: 
Then  give  me  leave  to  have  prerogative ; 
And  when  in  music  we  have  spent  an  hour, 
Your  lecture  shall  have  leisure  for  as  much. 

Luc.  Preposterous  ass,  that  never  read  so  far 

63 


Act  ITT.  Sc.  i.  THE  TAMING 

To  know  the  cause  why  music  was  ordain'd !  lo 

Was  it  not  to  refresh  the  mind  of  man 
After  his  studies  or  his  usual  pain  ? 
Then  give  me  leave  to  read  philosophy, 
And  while  I  pause,  serve  in  your  harmony. 

Hor.  Sirrah,  I  will  not  bear  these  braves  of  thine. 

Bian.  Why,  gentlemen,  you  do  me  double  wrong. 
To  strive  for  that  which  resteth  in  my  choice : 
I  am  no  breeching  scholar  in  the  schools ; 
I  '11  not  be  tied  to  hours  nor  'pointed  times, 
But  learn  my  lessons  as  I  please  myself.  20 

And  to  cut  off  all  strife,  here  sit  we  down : 
Take  you  your  instrument,  play  you  the  whiles ; 
His  lecture  will  be  done  ere  you  have  tuned. 

Hor.  You  '11  leave  his  lecture  when  I  am  in  tune  ? 

Luc.  That  will  be  never ;  tune  your  instrument. 

Bian.  Where  left  we  last? 

Luc.  Here,  madam : 

*  Hie  ibat  Simois  ;  hie  est  Sigeia  tellus  ; 
Hie  steterat  Priami  regia  celsa  senis.' 

Bian.  Construe  them.  30 

Luc.  '  Hie  ibat,'  as  I  told  you  before, — '  Simois,' 
I  am  Lucentio, — '  hie  est,'  son  unto  Vincentio 
of  Pisa, — '  Sigeia  tellus,'  disguised  thus  to  get 
your  love ; — '  Hie  steterat,'  and  that  Lucentio 
that  comes  a-wooing, — '  Priami,'  is  my  man 
Tranio,  —  '  regia,'  bearing  my  port,  —  '  celsa 
senis,'  that  we  might  beguile  the  old  pantaloon. 

Hor.  Madam,  my  instrument 's  in  tune. 

Bian.  Let 's  hear.    Ofie!   the  treble  jars. 

Luc.  Spit  in  the  hole,  man,  and  tune  again.  40 

Bian.  Now  let  me  see  if  I  can  construe  it : 

64 


OF  THE  SHREW  Act  III.  Sc.  i. 

*  Hie  ibat  Simois,'  I  know  you  not, — '  hie  est 
Sigeia  tellus,'  I  trust  you  not, — *  Hie  steterat 
Priami,'  take  heed  he  hear  us  not, — '  regia,' 
presume  not, — '  celsa  senis,'  despair  not. 

Hor.  jNIadam,  'tis  now  in  tune. 

Luc.  All  but  the  base. 

Hor.  The  base  is  right;   'tis  the  base  knave  that  jars. 
[Aside]   How  fiery  and  forward  our  pedant  is ! 
Now,  for  my  life,  the  knave  doth  court  my  love : 
Pedascule,  I  '11  watch  you  better  yet.  50 

Bian.  In  time  I  may  believe,  yet  I  mistrust. 

Luc.  Mistrust  it  not;    for,  sure,  ^acides 

Was  Ajax,  call'd  so  from  his  grandfather. 

Bian.  I  must  believe  my  master ;   else,  I  promise  you, 
I  should  be  arguing  still  upon  that  doubt. 
But  let  it  rest.     Now,  Licio,  to  you : 
Good  masters,  take  it  not  unkindly,  pray. 
That  I  have  been  thus  pleasant  with  you  both. 

Hor.  You  may  go  walk,  and  give  me  leave  a  while : 

My  lessons  make  no  music  in  three  parts.  60 

Luc.  Are  you  so  formal,  sir  ?  well,  I  must  wait, 

[Aside]   And  watch  withal;   for,  but  I  be  deceived, 
Our  fine  musician  groweth  amorous. 

Hor.  Madam,  before  you  touch  the  instrument, 
To  learn  the  order  of  my  fingering, 
I  must  begin  with  rudiments  of  art ; 
To  teach  you  gamut  in  a  briefer  sort, 
More  pleasant,  pithy,  and  effectual. 
Than  hath  been  taught  by  any  of  my  trade : 
And  there  it  is  in  writing,  fairly  drawn.  70 

Bian.  Why,  I  am  past  my  gamut  long  ago. 

Hor.  Yet  read  the  gamut  of  Hortensio. 

65 


Act  III.  Sc.  ii.  THE  TAMING 

Biaji.    [Reads]  "  '  Gamut '  I  am,  the  ground  of  all  accord, 
'A  re,'  to  plead  Hortensio's  passion ; 

*  B  mi,'  Bianca,  take  him  for  thy  lord, 

'  C  fa  ut,'  that  loves  with  all  affection : 

*  D  sol  re,'  one  clef,  two  notes  have  I : 

*  E  la  mi,'  show  pity,  or  I  die." 
Call  you  this  gamut  ?  tut,  I  like  it  not : 

Old  fashions  please  me  best ;  I  am  not  so  nice,         80 
To  change  true  rules  for  old  inventions. 

Enter  a  Servant. 

Serv.  Mistress,  your  father  prays  you  leave  your  books, 
And  help  to  dress  your  sister's  chamber  up : 
You  know  to-morrow  is  the  wedding-day. 

Bian.  Farewell,  sweet  masters  both ;   I  must  be  gone. 

{Exeunt  Bianca  and  Servant. 

Luc.  Faith,  mistress,  then  I  have  no  cause  to  stay.      [Exit. 

Hor.  But  I  have  cause  to  pry  into  this  pedant : 
Methinks  he  looks  as  though  he  were  in  love : 
Yet  if  thy  thoughts,  Bianca,  be  so  humble. 
To  cast  thy  wandering  eyes  on  every  stale,  90 

Seize  thee  that  Hst :  if  once  I  find  thee  ranging, 
Hortensio  will  be  quit  with  thee  by  changing.     [Exit. 

Scene  II. 

Padua.     Before  Baptista's  house. 

Enter  Baptista,  Gremio,  Tranio,  Katharina,  Bianca, 
Litcentio,  and  others,  attendants. 

Bap,  Signior  Lucentio  [To  Tranio],  this  is  the  'pointed 
day. 
That  Katharine  and  Petruchio  should  be  married, 
And  yet  we  hear  not  of  our  son-in-law. 
66 


OF  THE  SHREW  Act  III,  Sc.  ii. 

What  will  be  said?   what  mockery  will  it  be, 
To  want  the  bridegroom  when  the  priest  attends 
.  To  speak  the  ceremonial  rites  of  marriage ! 
What  says  Liicentio  to  this  shame  of  ours  ? 

Kath.  No  shame  but  mine :   I  must  forsooth,  be  forced 
To  give  my  hand,  opposed  against  my  heart. 
Unto  a  mad-brain  rudesby,  full  of  spleen  ;  lo 

Who  woo'd  in  haste,  and  means  to  wed  at  leisure. 
I  told  you,  I,  he  was  a  frantic  fool, 
Hiding  his  bitter  jests  in  blunt  behaviour: 
And,  to  be  noted  for  a  merry  man. 
He  '11  woo  a  thousand,  'point  the  day  of  marriage, 
Make  friends,  invite,  and  proclaim  the  banns ; 
Yet  never  means  to  wed  where  he  hath  woo'd. 
Now  must  the  world  point  at  poor  Katharine, 
And  say,  '  Lo,  there  is  mad  Petruchio's  wife. 
If  it  would  please  him  come  and  marry  her !  '         20 

Tra.  Patience,  good  Katharine,  and  Baptista  too. 
Upon  my  life,  Petruchio  means  but  well. 
Whatever  fortune  stays  him  from  his  word: 
Though  he  be  blunt,  I  know  him  passing  wise ; 
Though  he  be  merry,  yet  withal  he  's  honest. 

Kath.  Would  Katharine  had  never  seen  him  though ! 

[Exit  zceeping,  foUozved  by  Bianca  and  others. 

Bap.  Go,  girl ;  I  cannot  blame  thee  now  to  weep ; 
For  such  an  injury  would  vex  a  very  saint, 
Much  more  a  shrew  of  thy  impatient  humour. 

Enter  Biondello. 

Bion.  Master,   master!    news,   old  news,   and   such     30 

news  as  you  never  heard  of! 
Bap.  Is  it  new  and  old  too?  how  may  that  be? 

67 


Act  III.  Sc.  ii.  THE  TAMING 

Bion.  Why,  is  it  not  news,  to  hear  of  Petruchio's 
coming  ? 

Bap.  Is  he  come  ? 

Bion.  Why,  no,  sir. 

Bap.  What  then? 

Bion.  He  is  coming. 

Bap.  When  will  he  be  here? 

Bion.  When  he  stands  where  I  am  and  sees  you  there.     40 

Tra.  But  say,  what  to  thine  old  news  ? 

Bion.  Why,  Petruchio  is  coming  in  a  new  hat  and 
an  old  jerkin,  a  pair  of  old  breeches  thrice 
turned,  a  pair  of  boots  that  have  been  candle- 
cases,  one  buckled,  another  laced,  an  old  rusty 
sword  ta'en  out  of  the  town-armoury,  with  a 
broken  hilt,  and  chapeless ;  with  two  broken 
points :  his  horse  hipped  with  an  old  mothy 
saddle  and  stirrups  of  no  kindred;  besides, 
possessed  with  the  glanders  and  like  to  mose  in  50 
the  chine;  troubled  with  the  lampass,  infected 
with  the  fashions,  full  of  windgalls,  sped  with 
spavins,  rayed  with  the  yellows,  past  cure  of  the 
fives,  stark  spoiled  with  the  staggers,  begnawn 
with  the  bots,  swayed  in  the  back  and  shoulder- 
shotten;  near-legged  before  and  with  a  half- 
cheeked  bit  and  a  head  stall  of  sheep's  leather 
which,  being  restrained  to  keep  him  from  stum- 
bling, hath  been  often  burst  and  now  repaired 
with  knots;  one  girth  six  times  pieced  and  a  60 
woman's  crupper  of  velure,  which  hath  two  let- 
ters for  her  name  fairly  set  down  in  studs,  and 
here  and  there  pieced  with  pack-thread. 

Bap.  Who  comes  with  him  ? 

68 


OF  THE  SHREW  Act  III.  Sc.  ii. 

Bion.  O,  sir,  his  lackey,  for  all  the  world  caparisoned 
like  the  horse ;  with  a  linen  stock  on  one  leg,  and 
a  kersey  boot-hose  on  the  other,  gartered  with 
a  red  and  blue  list ;  an  old  hat,  and  *  the  humour 
of  forty  fancies  '  pricked  in  't  for  a  feather :  a 
monster,  a  very  monster  in  apparel,  and  not  like  70 
a  Christian  footboy  or  a  gentleman's  lackey. 

Tra.  "Tis  some  odd  humour  pricks  him  to  this  fashion ; 
Yet  oftentimes  he  goes  but  mean-apparell'd. 

Bap.  I  am  glad  he  's  come,  howsoe'er  he  comes. 

Bion.  Why,  sir,  he  comes  not. 

Bap.  Didst  thou  not  say  he  comes  ? 

Bion.  Who?   that  Petruchio  came? 

Bap.  Ay,  that  Petruchio  came. 

Bion.  No,  sir ;  I  say  his  horse  comes,  with  him  on  his 

back.  80 

Bap.  Why,  that 's  all  one. 

Bion.  Nay,  by  Saint  Jamy, 
I  hold  you  a  penny, 
A  horse  and  a  man 
Is  more  than  one. 
And  yet  not  many. 

Enter  Petruchio  and  Grumio. 

Pet.  Come,  where  be  these  gallants  ?  who  's  at  home  ? 

Bap.  You  are  welcome,  sir. 

Pet.  And  yet  I  come  not  well. 

Bap.  And  yet  you  halt  not. 

Tra.  Not  so  well  apparell'd 

As  I  wish  you  were.  9° 

Pet.  Were  it  better,  I  should  rush  in  thus. 

But  where  is  Kate?   where  is  my  lovely  bride? 

69 


Act  III.  Sc.  ii.  THE  TAMING 

How  does  my  father  ?   Gentles,  methinks  you  frown : 
And  wherefore  gaze  this  goodly  company, 
As  if  they  saw  some  wondrous  monument, 
Some  comet  or  unusual  prodigy? 

Bap.  Why,  sir,  you  know  this  is  your  wedding-day: 
First  were  we  sad,  fearing  you  would  not  come ; 
Now  sadder,  that  you  come  so  unprovided. 
Fie,  doff  this  habit,  shame  to  your  estate,  lOO 

An  eye-sore  to  our  solemn  festival ! 

Tra.  And  tell  us,  what  occasion  of  import 

Hath  all  so  long  detain'd  you  from  your  wife. 
And  sent  you  hither  so  unlike  yourself  ? 

Pet,  Tedious  it  were  to  tell,  and  harsh  to  hear : 
Sufficeth,  I  am  come  to  keep  my  word, 
Though  in  some  part  enforced  to  digress ; 
Which,  at  more  leisure,  I  will  so  excuse 
As  you  shall  well  be  satisfied  withal. 
But  where  is  Kate?     I  stay  too  long  from  her:     no 
The  morning  wears,  'tis  time  we  were  at  church. 

Tra.  See  not  your  bride  in  these  unreverent  robes : 
Go  to  my  chamber  ;  put  on  clothes  of  mine. 

Pet,  Not  I,  believe  me :  thus  I  '11  visit  her. 

Eap,  But  thus,  I  trust,  you  will  not  marry  her. 

Pet.  Good   sooth,   even   thus ;    therefore  ha'   done   with 
words : 
To  me  she  's  married,  not  unto  my  clothes : 
Could  I  repair  what  she  will  wear  in  me. 
As  I  can  change  these  poor  accoutrements, 
'Twere  well  for  Kate  and  better  for  myself.         120 
But  what  a  fool  am  I  to  chat  with  you, 
When  I  should  bid  good  morrow  to  my  bride, 
And  seal  the  title  with  a  lovely  kiss ! 

[Exeunt  Petruchio  and  Grumio. 


70 


OF  THE  SHREW  Act  III.  Sc.  ii. 

Tra.  He  hath  some  meaning  in  his  mad  attire : 
We  will  persuade  him,  be  it  possible, 
To  put  on  better  ere  he  go  to  church. 

Bap.  I  '11  after  him,  and  see  the  event  of  this. 

[Exeunt  Baptista,  Gremio,  and  attendants. 

Tra.  But  to  her  love  concerneth  us  to  add 

Her  father's  liking :  which  to  bring  to  pass, 

As  I  before  imparted  to  your  worship,  130 

I  am  to  get  a  man, — whate'er  he  be, 

It  skills  not  much,  we  '11  fit  him  to  our  turn, — 

And  he  shall  be  Vincentio  of  Pisa; 

And  make  assurance  here  in  Padua 

Of  greater  sums  than  I  have  promised. 

So  shall  you  quietly  enjoy  your  hope, 

And  marry  sweet  Bianca  with  consent. 

Luc.  Were  it  not  that  my  fellow-schoolmaster 
Doth  watch  Bianca's  steps  so  narrowly, 
'Twere  good,  methinks,  to  steal  our  marriage ;       140 
Which  once  performed,  let  all  the  world  say  no, 
I  '11  keep  mine  own,  despite  of  all  the  world. 

Tra.  That  by  degrees  we  mean  to  look  into. 
And  watch  our  vantage  in  this  business  : 
We  '11  over-reach  the  greybeard,  Gremio, 
The  narrow-prying  father,  Minola, 
The  quaint  musician,  amorous  Licio ; 
All  for  my  master's  sake,  Lucentio. 

Re-enter  Gremio. 

Signior  Gremio,  came  you  from  the  church  ? 
Ore,  As  willingly  as  e'er  I  came  from  school.  150 

Tra,  And  is  the  bride  and  bridegroom  coming  home  ? 
Ore.  A  bridegroom  say  you  ?  'tis  a  groom  indeed, 

71 


Act  III.  Sc.  ii.  THE  TAMING 

A  grumbling  groom,  and  that  the  girl  shall  find. 

Tra.  Curster  than  she  ?  why,  'tis  impossible. 

Gre.  Why,  he  's  a  devil,  a  devil,  a  very  fiend. 

Tra.  Why,  she  's  a  devil,  a  devil,  the  devil's  dam. 

Gre,  Tut,  she  's  a  lamb,  a  dove,  a  fool  to  him ! 
I  '11  tell  you.  Sir  Lucentio:   when  the  priest 
Should  ask,  if  Katharine  should  be  his  wife, 
'  Ay,  by  gogs-wouns,'  quoth  he ;   and  swore  so  loud, 
That,  all  amazed,  the  priest  let  fall  the  book ;        i6i 
And,  as  he  stoop'd  again  to  take  it  up. 
This  mad-brain'd  bridegroom  took  him  such  a  cuff 
That    down   fell   priest    and   book,    and   book   and 

priest : 
*  Now  take  them  up,'  quoth  he,  *  if  any  list.' 

Tra.  What  said  the  wench  when  he  rose  again  ? 

Ore.  Trembled   and   shook;    for  why  he  stamp'd   and 
swore. 
As  if  the  vicar  meant  to  cozen  him. 
But  after  many  ceremonies  done, 
He  calls  for  wine :  *  A  health ! '  quoth  he ;  as  if     170 
He  had  been  aboard,  carousing  to  his  mates 
After  a  storm :  quaff' d  off  the  muscadel, 
And  threw  the  sops  all  in  the  sexton's  face; 
Having  no  other  reason 
But  that  his  beard  grew  thin  and  hungerly 
And  seem'd  to  ask  him  sops  as  he  was  drinking. 
This  done,  he  took  the  bride  about  the  neck 
And  kiss'd  her  lips  with  such  a  clamorous  smack 
That  at  the  parting  all  the  church  did  echo : 
And  I  seeing  this  came  hence  for  very  shame;       180 
I  And  after  me,  I  know,  the  rout  is  coming. 
Such  a  mad  marriage  never  was  before: 
Hark,  hark !  I  hear  the  minstrels  play.  [Music, 

72 


OF  THE  SHREW  Act  III.  Sc.  ii. 

Re-enter  Petruchio,  Katharina,  Bianca,  Baptista,  Hor^ 
tensio,  Grumio,  and  train. 

Pet.  Gentlemen  and  friends,  I  thank  you  for  your  pains : 
I  know  you  think  to  dine  with  me  to-day, 
And  have  prepared  great  store  of  wedding  cheer  ? 
But  so  it  is,  my  haste  doth  call  me  hence, 
And  therefore  here  I  mean  to  take  my  leave. 

Bap.  Is  't  possible  you  will  away  to-night  ? 

Pet.  I  must  away  to-day,  before  night  come :  190 

Make  it  no  wonder ;  if  you  knew  my  business, 
You  would  entreat  me  rather  go  than  stay. 
And,  honest  company,  I  thank  you  all. 
That  have  beheld  me  give  away  myself 
To  this  most  patient,  sweet,  and  virtuous  wife : 
Dine  with  my  father,  drink  a  health  to  me ; 
For  I  must  hence ;  and  farewell  to  you  all. 

Tra.  Let  us  entreat  you  stay  till  after  dinner. 

Pet.  It  may  not  be. 

Gre.  Let  me  entreat  you. 

Pet.  It  cannot  be. 

Kath.  Let  me  entreat  you.  200 

Pet.  I  am  content. 

Kath.  Are  you  content  to  stay  ? 

Pet.  I  am  content  you  shall  entreat  me  stay ; 
But  yet  not  stay,  entreat  me  how  you  can. 

Kath.  Now,  if  you  love  me,  stay. 

p^l^  Grumio,  my  horse. 

Grii.  Ay,  sir,  they  be  ready :   the  oats  have  eaten  the 
horses. 

Kath.  Nay,  then. 

Do  what  thou  canst,  I  will  not  go  to-day ; 

7Z 


Act  III.  Sc.  ii.  THE  TAMING 

No,  nor  to-morrow,  not  till  I  please  myself. 

The  door  is  open,  sir;   there  lies  your  way;  210 

You  may  be  jogging  whiles  your  boots  ar'e  green ; 

For  me,  I  '11  not  be  gone  till  I  please  myself : 

'Tis  like  you  '11  prove  a  jolly  surly  groom, 

That  take  it  on  you  at  the  first  so  roundly. 

Pet.  O  Kate,  content  thee ;  prithee,  be  not  angry. 

Kath.  I  will  be  angry:   what  hast  thou  to  do? 
Father,  be  quiet :  he  shall  stay  my  leisure. 

Gre.  Ay,  marry,  sir,  now  it  begins  to  work. 

Kath.  Gentlemen,  forward  to  the  bridal  dinner: 

I  see  a  woman  may  be  made  a  fool,  220 

If  she  had  not  a  spirit  to  resist. 

Pet.  They  shall  go  forward,  Kate,  at  thy  command. 
Obey  the  bride,  you  that  attend  on  her ; 
Go  to  the  feast,  revel  and  domineer. 
Carouse  full  measure  to  her  maidenhead. 
Be  mad  and  merry,  or  go  hang  yourselves : 
But  for  my  bonny  Kate,  she  must  with  me. 
Nay,  look  not  big,  nor  stamp,  nor  stare,  nor  fret ; 
I  will  be  master  of  what  is  mine  own : 
She  is  my  goods,  my  chattels  ;  she  is  my  house,     230 
My  household  stuff,  my  field,  my  barn, 
My  horse,  my  ox,  my  ass,  my  any  thing ; 
And  here  she  stands,  touch  her  whoever  dare ; 
I  '11  bring  mine  action  on  the  proudest  he 
That  stops  my  way  in  Padua.     Grumio, 
Draw  forth  thy  weapon,  we  are  beset  with  thieves ; 
Rescue  thy  mistress,  if  thou  be  a  man. 
Fear  not,  sweet  wench,  they  shall  not  touch  thee, 

Kate: 
I  '11  buckler  thee  against  a  million. 

{Exeunt  Petnichio,  Katharina,  and  Grumio. 
74 


OF  THE  SHREW  Act  IV.  Sc.  i. 

Bap.  Nay,  let  them  go,  a  couple  of  quiet  ones.  240 

Gre.  Went  they  not  quickly,  I  should  die  with  laughing. 
Tra.  Of  all  mad  matches  never  was  the  like. 
Luc.  Mistress,  what 's  your  opinion  of  your  sister  ? 
Bian.  That,  being  mad  herself,  she  's  madly  mated. 
Gre.  I  warrant  him,  Petruchio  is  Kated. 
Bap.  Neighbours  and  friends,  though  bride  and  bride- 
groom wants 

For  to  supply  the  places  at  the  table. 

You  know  there  wants  no  junkets  at  the  feast. 

Lucentio,  you  shall  supply  the  bridegroom's  place ; 

And  let  Bianca  take  her  sister's  room.  250 

Tra.  Shall  sweet  Bianca  practise  how  to  bride  it? 
Bap.  She  shall,  Lucentio.     Come,  gentlemen,  let 's    go. 

[Exeunt. 

ACT  FOURTH. 
Scene  I. 

Petruchio's  country  house. 

Enter  Grumio. 

Gru.  Fie,  fie  on  all  tired  jades,  on  all  mad  masters, 
and  all  foul  ways !  Was  ever  man  so  beaten  ? 
was  ever  man  so  rayed  ?  was  ever  man  so  weary  ? 
I  am  sent  before  to  make  a  fire,  and  they  are 
coming  after  to  warm  them.  Now,  were  not  I  a 
little  pot,  and  soon  hot,  my  very  lips  might  freeze 
to  my  teeth,  my  tongue  to  the  roof  of  my  mouth, 
my  heart  in  my  belly,  ere  I  should  come  by  a  fire 
to  thaw  me :  but  I,  with  blowing  the  fire,  shall 
warm  myself;    for,  considering  the  weather,  a     ro 

75 


Act  IV.  Sc.  i.  THE  TAMING 

taller  man  than   I  will  take  cold.     Holla,  ho! 
Curtis ! 

Enter  Curtis. 

Curt.  Who  is  that  calls  so  coldly  ? 

Gru.  A  piece  of  ice:  if  thou  doubt  it,  thou  mayst 
slide  from  my  shoulder  to  my  heel  with  no 
greater  a  run  but  my  head  and  my  neck.  A  fire, 
good  Curtis. 

Curt.  Is  my  master  and  his  wife  coming,  Grumio? 

Gru.  O,  ay,  Curtis,  ay :   and  therefore  fire,  fire ;   cast 

on  no  water.  20 

Curt.  Is  she  so  hot  a  shrew  as  she  's  reported? 

Gru.  She  was,  good  Curtis,  before  this  frost:  but, 
thou  knowest,  winter  tames  man,  woman,  and 
beast ;  for  it  hath  tamed  my  old  master,  and  my 
new  mistress,  and  myself,  fellow  Curtis. 

Curt.  Away,  you  three-inch  fool !    I  am  no  beast. 

Gru.  Am  I  but  three  inches  ?  why,  thy  horn  is  a  foot ; 
and  so  long  am  I  at  the  least.  But  wilt  thou 
make  a  fire,  or  shall  I  complain  on  thee  to  our 
mistress,  whose  hand,  she  being  now  at  hand,  30 
thou  shalt  soon  feel,  to  thy  cold  comfort,  for 
being  slow  in  thy  hot  office? 

Curt.  I  prithee,  good  Grumio,  tell  me,  how  goes  the 
world  ? 

Gru.  A  cold  world,  Curtis,  in  every  office  but  thine  ; 
and  therefore  fire :  do  thy  duty,  and  have  thy 
duty,  for  my  master  and  mistress  are  almost 
frozen  to  death. 

Curt.  There  's  fire  ready ;  and  therefore,  good  Gru- 
mio, the  news.  40 

76 


OF  THE  SHREW  Act  IV.  Sc.  i, 

Gru.  Why,  '  Jack,  boy!  ho!   boy!'  and  as  much  news 
as  thou  wilt. 

Curt.  Come,  you  are  so  full  of  cony-catching ! 

Gru.  Why,  therefore  fire ;  for  I  have  caught  extreme 
cold.  Where  's  the  cook  ?  is  supper  ready,  the 
house  trimme.d,  rushes  strewed,  cobwebs  swept ; 
the  serving-men  in  their  new  fustian,  their  white 
stockings,  and  every  officer  his  wedding-garment 
on  ?  Be  the  jacks  fair  within,  the  jills  fair  with- 
out, the  carpets  laid,  and  every  thing  in  order?       50 

Curt.  All  ready ;  and  therefore,  I  pray  thee,  news. 

Gru.  First,  know,  my  horse  is  tired ;  my  master  and 
m.istress  fallen  out. 

Curt.  How? 

Gru.  Out  of  their  saddles  into  the  dirt ;  and  thereby 
hangs  a  tale. 

Curt.  Let 's  ha  't,  good  Grumio. 

Gru.  Lend  thine  ear. 

Curt.  Here. 

Grii.  There.  [Strikes  him.     60 

Ctirt.  This  is  to  feel  a  tale,  not  to  hear  a  tale. 

Gru.  And  therefore  'tis  called  a  sensible  tale:  and 
this  cuff  was  but  to  knock  at  your  ear,  and  be- 
seech listening.  Now  I  begin :  Imprimis,  we 
came  down  a  foul  hill,  my  master  riding  behind 
my  mistress, — 

Curt.  Both  of  one  horse? 

Gru.  What 's  that  to  thee  ? 

Curt.  Why,  a  horse. 

Gru.  Tell  thou  the  tale :   but  hadst  thou  not  crossed 

me,  thou   shouldst  have  heard  how  her  horse     70 
fell   and  she   under   her  horse ;    thou   shouldst 
have  heard  in  how  miry  a  place,  how  she  was 


Act  IV.  Sc.  i.  THE  TAMING 

bemoiled,  how  he  left  her  with  the  horse  upon 
her,  how  he  beat  me  because  her  horse  stumbled, 
how  she  waded  through  the  dirt  to  pluck  him 
off  me,  how  he  swore,  how  she  prayed,  that 
never  prayed  before,  how  I  cried,  how  the  horses 
ran  away,  how  her  bridle  was  burst,  how  I  lost 
my  crupper,  with  many  things  of  worthy  mem- 
ory, which  now  shall  die  in  oblivion  and  thou  80 
return  unexperienced  to  thy  grave. 

Curt.  By  this  reckoning  he  is  more  shrew  than  she. 

Grii.  Ay ;  and  that  thou  and  the  proudest  of  you 
all  shall  find  when  he  comes  home.  But  what 
talk  I  of  this?  Call  forth  Nathaniel,  Joseph, 
Nicholas,  Philip,  Walter,  Sugarsop  and  the  rest : 
let  their  heads  be  sleekly  combed,  their  blue 
coats  brushed,  and  their  garters  of  an  indifferent 
knit :  let  them  curtsy  with  their  left  legs,  and 
not  presume  to  touch  a  hair  of  my  master's  90 
horse-tail  till  they  kiss  their  hands.  Are  they  all 
ready  ? 

Cti7't.  They  are. 

Gru.  Call  them  forth. 

Ctirt.  Do  you  hear,  ho?   you  must  meet  my  master 
to  countenance  my  mistress ! 

Gru.  Why,  she  hath  a  face  of  her  own. 

Curt.  Who  knows  not  that  ? 

Gru.  Thou,  it  seems,  that  calls  for  company  to  coun- 
tenance her. 

Curt.  I  call  them  forth  to  credit  her.  100 

Gru.  Why,  she  comes  to  borrow  nothing  of  them. 

Enter  four  or  five  serving-men. 

Nath.  Welcome  home,  Grumio! 

78 


or  THE  SHREW  Act  IV.  Sc.  i. 

Phil.  How  now,  Grumio ! 

Jos.  What,  Grumio ! 

Nich.  Fellow  Grumio ! 

Nath.  How  now,  old  lad? 

Grn.  Welcome,  you ; — how  now,  you ; — what,  you ; 

— fellow,    you; — and   thus   much    for   greeting. 

Now,  my  spruce  companions,  is  all  ready,  and     ' 

all  things  neat?  no 

Nath.  All  things  is  ready.    How  near  is  our  master  ? 
Grn.  E'en  at  hand,  alighted  by  this ;    and  therefore 

be   not — Cock's    passion,    silence!     I    hear    my 

master. 

Enter  Petruchio  and  Katharina. 

Pet.  Where  be  these  knaves  ?    What,  no  man  at  door 
To  hold  my  stirrup  nor  to  take  my  horse ! 
Where  is  Nathaniel,  Gregory,  Philip  ? 

All  Serv.  .Here,  here,  sir;   here,  sir. 

Pet.  Here,  sir !   here,  sir !   here,  sir !  here,  sir ! 

You  logger-headed  and  unpolish'd  grooms!  120 

What,  no  attendance?   no  regard?  no  duty? 
Where  is  the  foolish  knave  I  sent  before  ? 

Gru.  Here,  sir,  as  foolish  as  I  was  before. 

Pet.  You    peasant    swain !      you    whoreson    malt-horse 
drudge ! 
Did  I  not  bid  thee  meet  me  in  the  park. 
And  bring  along  these  rascal  knaves  with  thee? 

Gru.  Nathaniel's  coat,  sir,  was  not  fully  made, 

And  Gabriel's  pumps  were  all  unpink'd  i'  the  heel ; 
There  was  no  link  to  colour  Peter's  hat,  129 

And  Walter's  dagger  was  not  come  from  sheathing: 
There  were  none  fine  but  Adam,  Ralph,  and  Gregory ; 
The  rest  were  ragged,  old,  and  beggarly ; 
Yet,  as  they  are,  here  are  they  come  to  meet  you. 

79 


Act  IV.  Sc.  i.  THE  TAMING 

Go,  rascals,  go,  and  fetch  my  supper  in. 

[Exeunt  Servants. 

[Singing]     Where  is  the  Ufe  that  late  I  led — 

Where  are  those — Sit  down,  Kate,  and  welcome. — 
Soud,  soud,  soud,  soud ! 

Re-enter  Servants  with  supper. 

Why,    when,    I    say?     Nay,    good   sweet    Kate,   be 

merry. 
Off  with  my  boots,  you  rogues !   you  villains,  when  ? 

[^'/no-j]        It  was  the  friar  of  orders  grey,  140 

As  he  forth  walked  on  his  way : — 

Out,  you  rogue !    you  pluck  my  foot  awry : 
Take  that,  and  mend  the  plucking  off  the  other. 

[Strikes  him. 
Be  merry,  Kate.    Some  water,  here ;   what,  ho ! 
Where  's  my  spaniel  Troilus  ?    Sirrah,  get  you  hence. 
And  bid  my  cousin  Ferdinand  come  hither : 
One,  Kate,  that  you  must  kiss,  and  be  acquainted 

with. 
Where  are  my  slippers  ?    Shall  I  have  some  water  ? 

Enter  one  with  water. 

Come,  Kate,  and  wash,  and  welcome  heartily. 

You  whoreson  villain  !   will  you  let  it  fall ! 

[Strikes  him. 
Kath,  Patience,  I  pray  you ;  'twas  a  fault  unwilling.  151 
Pet.  A  whoreson  beetle-headed,  flap-ear'd  knave ! 

Come,  Kate,  sit  down ;   I  know  you  have  a  stomach. 

Will  you  give  thanks,  sweet  Kate ;  or  else  shall  I  ? 

What 's  this  ?  mutton  ? 

80 


OF  THE  SHREW  Act  IV.  Sc.  i. 

First.  Serv.  Ay. 

Pet.  Who  brought  it  ? 

Peter.  I 

Pet.  'Tis  burnt ;  and  so  is  all  the  meat. 

What  dogs  are  these !   where  is  the  rascal  cook  ? 
How  durst  you,  villains,  bring  it  from  the  dresser, 
And  serve  it  thus  to  me  that  love  it  not? 
There,  take  it  to  you,  trenchers,  cups,  and  all :       i6o 
[Throius  the  meat,  etc.,  about  the  stage. 
You  heedless  joltheads  and  unmanner'd  slaves ! 
What,  do  you  grumble  ?  I  '11  be  with  you  straight. 

Kath.  I  pray  you,  husband,  be  not  so  disquiet : 
The  meat  was  well,  if  you  were  so  contented. 

Pet.  I  tell  thee,  Kate,  'twas  burnt  and  dried  away ; 
And  I  expressly  am  forbid  to  touch  it. 
For  it  engenders  choler,  planteth  anger ; 
And  better  'twere  that  both  of  us  did  fast, 
Since,  of  ourselves,  ourselves  are  choleric. 
Than  feed  it  with  such  over-roasted  flesh.  170 

Be  patient ;   to-morrow  't  shall  be  mended. 
And,  for  this  night,  we  '11  fast  for  company : 
Come,  I  will  bring  thee  to  thy  bridal  chamber. 

[Exeunt, 

Re-enter  Servants  severally. 

Nath.  Peter,  didst  ever  see  the  like  ? 
Peter.  He  kills  her  in  her  own  humour. 

Re-enter  Curtis. 

Gru.  Where  is  he  ? 

Curt.  In  her  chamber,  making  a  sermon  of  continency 

to  her ; 

And  rails,  and  swears,  and  rates,  that  she,  poor  soul, 
81 


Act  IV.  Sc.  i.  THE  TAMING 

Knows  not  which  way  to  stand,  to  look,  to  speak, 
And  sits  as  one  new-risen  from  a  dream.  i8i 

Away,  away !   for  he  is  coming  hither.  [Exeunt. 

Re-enter  Petruchio. 

Pet.  Thus  have  I  poHticly  begun  my  reign, 
And  'tis  my  hope  to  end  successfully. 
My  falcon  now  is  sharp  and  passing  empty  ; 
And  till  she  stoop  she  must  not  be  full-gorged. 
For  then  she  never  looks  upon  her  lure. 
Another  way  I  have  to  man  my  haggard, 
To  make  her  come  and  know  her  keeper's  call, 
That  is,  to  watch  her,  as  we  watch  these  kites         190 
That  bate  and  beat  and  will  not  be  obedient. 
She  eat  no  meat  to-day,  nor  none  shall  eat ; 
Last  night  she  slept  not,  nor  to-night  she  shall  not ; 
As  with  the  meat,  some  undeserved  fault 
I  '11  find  about  the  making  of  the  bed ; 
And  here  I  '11  fling  the  pillow,  there  the  bolster, 
This  way  the  coverlet,  another  way  the  sheets : 
Ay,  and  amid  this  hurly  I  intend 
That  all  is  done  in  reverend  care  of  her ; 
And  in  conclusion  she  shall  watch  all  night :  200 

And  if  she  chance  to  nod,  I  '11  rail  and  brawl, 
And  with  the  clamour  keep  her  still  awake. 
This  is  a  way  to  kill  a  wife  with  kindness  ; 
And  thus  I  '11  curb  her  mad  and  headstrong  humour. 
He  that  knows  better  how  to  tame  a  shrew. 
Now  let  him  speak :   'tis  charity  to  show.  {Exit. 


82 


OF  THE  SHREW  Act  IV.  Sc.  ii. 

Scene  II. 

Padua.     Before  Baptista's  house. 
Enter  Tranio  and  Hortensio. 

Tra.  Is  't  possible,  friend  Licio,  that  Mistress  Bianca 

Doth  fancy  any  other  but  Lucentio  ? 

I  tell  you,  sir,  she  bears  me  fair  in  hand. 
Hor.  Sir,  to  satisfy  you  in  what  I  have  said, 

Stand  by  and  mark  the  manner  of  his  teaching. 

Enter  Bianca  and  Lucentio. 

Luc.  Now,  mistress,  profit  you  in  what  you  read  ? 
Bian.  What,  master,  read  you  ?  first  resolve  me  that. 
Luc.  I  read  that  I  profess,  the  Art  to  Love. 
Bian.  And  may  you  prove,  sir,  master  of  your  art!  9 

Luc.  While  you,  sweet  dear,  prove  mistress  of  my  heart! 
Hor.  Quick  proceeders,  marry!    Now,  tell  me,  I  pray, 

You  that  durst  swear  that  your  mistress  Bianca 

Loved  none  in  the  world  so  well  as  Lucentio. 
Tra.  O  despiteful  love  !   unconstant  womankind ! 

I  tell  thee,  Licio,  this  is  wonderful. 
Hor.  Mistake  no  more :   I  am  not  Licio, 

Nor  a  musician,  as  I  seem  to  be ; 

But  one  that  scorn  to  live  in  this  disguise, 

For  such  a  one  as  leaves  a  gentleman. 

And  makes  a  god  of  such  a  cullion:  20 

Know,  sir,  that  I  am  call'd  Hortensio. 
Tra.  Signior  Hortensio,  I  have  often  heard 

Of  your  entire  affection  to  Bianca ; 

And  since  mine  eyes  are  witness  of  her  lightness, 

I  will  with  you,  if  you  be  so  contented, 

Forswear  Bianca  and  her  love  for  ever 

83 


Act  IVo  Sc.  ii.  THE  TAMING 

Hor.  See,  how  they  kiss  and  court !     Signior  Lucentio, 
Here  is  my  hand,  and  here  I  firmly  vow 
Never  to  woo  her  more,  but  do  forswear  her. 
As  one  unworthy  all  the  former  favours  30 

That  I  have  fondly  flatter'd  her  withal. 

Tra.  And  here  I  take  the  like  unfeigned  oath. 

Never  to  marry  with  her  though  she  would  entreat : 
Fie  on  her !  see,  how  beastly  she  doth  court  him ! 

Ho7'.  Would  all  the  world  but  he  had  quite  forsworn ! 
For  me,  that  I  may  surely  keep  mine  oath, 
I  will  be  married  to  a  wealthy  widow, 
Ere  three  days  pass,  which  hath  as  long  loved  me 
As  I  have  loved  this  proud  disdainful  haggard. 
And  so  farewell,  Signior  Lucentio.  40 

Kindness  in  women,  not  their  beautous  looks, 
Shall  win  my  love :  and  so  I  take  my  leave. 
In  resolution  as  I  swore  before.  {Exit. 

Tra.  Mistress  Bianca,  bless  you  with  such  grace 
As  'longeth  to  a  lover's  blessed  case ! 
Nay,  I  have  ta'en  you  napping,  gentle  love, 
And  have  forsworn  you  with  Hortensio. 

Bian.  Tranio,  you  jest:  but  have  you  both  forsworn  me? 

Tra.  Mistress,  we  have. 

Liic.  Then  we  are  rid  of  Licio. 

Tra.  V  faith,  he  '11  have  a  lusty  widow  now,  50 

That  will  be  woo'd  and  wedded  in  a  day. 

Bian.  God  give  him  joy. 

Tra.  Ay,  and  he  '11  tame  her. 

Bian.  He  says  so,  Tranio. 

Tra.  Faith,  he  is  gone  unto  the  taming-school. 

Bian.  The  taming-school!   what,  is  there  such  a  place? 

Tra.  Ay,  mistress,  and  Petruchio  is  the  master ; 

84 


OF  THE  SHREW  Act  IV.  Sc.  ii. 

That  teacheth  tricks  eleven  and  twenty  long, 

To  tame  a  shrew  and  charm  her  chattering  tongue. 

Enter  Biondello. 

Bian.  O  master,  master,  I  have  watch'd  so  long 

That  I  am  dog-weary !  but  at  last  I  spied  60 

An  ancient  angel  coming  down  the  hill, 
Will  serve  the  turn. 

Tra.  What  is  he,  Biondello? 

Bion.  Master,  a  mercatante,  or  a  pedant, 

I  know  not  what ;  but  formal  in  apparel, 
In  gait  and  countenance  surely  like  a  father. 

Luc.     And  what  of  him,  Tranio? 

Tra.  If  he  be  credulous  and  trust  my  tale, 
I  '11  make  him  glad  to  seem  Vincentio, 
And  give  assurance  to  Baptista  Minola, 
As  if  he  were  the  right  Vincentio.  70 

Take  in  your  love,  and  then  let  me  alone. 

[Exeunt  Lucentio  and  Bianca. 

Enter  a  Pedant. 

Fed.  God  save  you,  sir ! 

Tra.  And  you,  sir!   you  are  welcome. 

Travel  you  far  on,  or  are  you  at  the  farthest  ? 
Fed.  Sir,  at  the  farthest  for  a  week  or  two : 

But  then  up  farther,  and  as  far  as  Rome; 

And  so  to  Tripoli,  if  God  lend  me  life. 
Tra.  What  countryman,  I  pray? 
Fed.  Of  Mantua. 

Tra.  Of  Mantua,  sir  ?  marry,  God  forbid ! 

And  come  to  Padua,  careless  of  your  life  ? 
Fed.  My  life,  sir !   how,  I  pray  ?   for  that  goes  hard.      80 

85 


Act  IV.  Sc.  iL  THE  TAMING 

Tra.  'Tis  death  for  any  one  in  Mantua 

To  come  to  Padua.     Know  you  not  the  cause  ? 
Your  ships  are  stay'd  at  Venice ;   and  the  Duke, 
For  private  quarrel  'twixt  your  duke  and  him, 
Hath  pubHsh'd  and  proclaimed  it  openly: 
'Tis  marvel,  but  that  you  are  but  newly  come, 
You  might  have  heard  it  else  proclaim'd  about. 

Ped.  Alas,  sir,  it  is  worse  for  me  than  so ! 
For  I  have  bills  for  money  by  exchange 
From  Florence,  and  must  here  deliver  them.  90 

Tra.  W^ll.  sir,  to  do  you  courtesy, 

This  will  I  do,  and  this  I  will  advise  you : 
First,  tell  me,  have  you  ever  been  at  Pisa? 

Pcd.  Ay,  sir,  in  Pisa  have  I  often  been ; 
Pisa  renowned  for  grave  citizens. 

Tra.  Among  them  know  you  one  Vincentio? 

Ped.  I  know  him  not,  but  I  have  heard  of  him ; 
A  merchant  of  incomparable  wealth. 

Tra.  He  is  my  father,  sir ;   and,  sooth  to  say, 

In  countenance  somewhat  doth  resemble  you.         100 

Bion.  As  much  as  an  apple  doth  an  oyster,  and  all  one. 

[Aside. 

Tra.  To  save  your  life  in  this  extremity. 

This  favour  will  I  do  you  for  his  sake ; 
And  think  it  not  the  worst  of  all  your  fortunes 
That  you  are  like  to  Sir  Vincentio. 
His  name  and  credit  shall  you  undertake, 
And  in  my  house  you  shall  be  friendly  lodged : 
Look  that  you  take  upon  you  as  you  should ; 
You  understand  me,  sir :   so  shall  you  stay 
Till  you  have  done  your  business  in  the  city :         no 
If  this  be  courtesy,  sir,  accept  of  it. 
86 


OF  THE  SHREW  Act  IV.  Sc.  iii. 

Ped.  O  sir,  I  do ;  and  will  repute  you  ever 
The  patron  of  my  life  and  liberty. 

Tra.  Then  go  with  me  to  make  the  matter  good. 
This,  by  the  way,  I  let  you  understand ; 
My  father  is  here  look'd  for  every  day, 
To  pass  assurance  of  a  dower  in  marriage 
'Twixt  me  and  one  Baptista's  daughter  here : 
In  all  these  circumstances  I  '11  instruct  you : 
Go  with  me  to  clothe  you  as  becomes  you.  120 

[Exeunt. 

Scene  III. 

A  room  in  Pctnichio's  house. 
Enter  Katharina  and  Griunio. 

Gru.  No,  no,  forsooth ;   I  dare  not  for  my  life. 

Kath.  The  more  my  wrong,  the  more  his  spite  appears : 
What,  did  he  marry  me  to  famish  me? 
Beggars,  that  come  unto  my  father's  door, 
Upon  entreaty  have  a  present  alms ; 
If  not,  elsewhere  they  meet  with  charity : 
But  I,  who  never  knew  how  to  entreat, 
Nor  never  needed  that  I  should  entreat. 
Am  starved  for  meat,  giddy  for  lack  of  sleep ; 
With  oaths  kept  waking,  and  with  brawling  f ed  :      i  o 
And  that  which  spites  me  more  than  all  these  wants, 
He  does  it  under  name  of  perfect  love  ; 
As  who  should  say,  if  I  should  sleep  or  eat, 
'Twere  deadly  sickness  or  else  present  death. 
I  prithee  go  and  get  me  some  repast ; 
I  care  not  what,  so  it  be  wholesome  food. 

Gru,  What  say  you  to  a  neat's  foot  ? 

87 


Act  IV.  Sc.  iii.  THE  TAMING 

Kath.  'Tis  passing  good :  I  prithee  let  me  have  it. 
Gru.  I  fear  it  is  too  choleric  a  meat. 

How  say  you  to  a  fat  tripe  finely  broil'd?  20 

Kath.  I  like  it  well ;  good  Grumio,  fetch  it  me. 
Gru.  I  cannot  tell ;  I  fear  'tis  choleric. 

What  say  you  to  a  piece  of  beef  and  mustard  ? 
Kath,  A  dish  that  I  do  love  to  feed  upon. 
Gru.  Ay,  but  the  mustard  is  too  hot  a  little. 
Kath.  Why  then,  the  beef,  and  let  the  mustard  rest. 
Gru.  Nay  then,  I  will  not :  you  shall  have  the  mustard, 

Or  else  you  get  no  beef  of  Grumio. 
Kath.  Then  both,  or  one,  or  any  thing  thou  wilt. 
Gru.  Why  then,  the  mustard  without  the  beef.  30 

Kath.  Go,  get  thee  gone,  thou  false  deluding  slave,  [Beats 

That  feed'st  me  with  the  very  name  of  meat :       [him. 

Sorrow  on  thee  and  all  the  pack  of  you 

That  triumph  thus  upon  my  misery ! 

Go,  get  thee  gone,  I  say. 

Enter  Petriichio  and  Hortensio  with  meat. 

Pet.  How  fares  my  Kate  ?     What,  sweeting,  all  amort  ? 

Hor.  Mistress,  what  cheer? 

Kath.  Faith,  as  cold  as  can  be. 

Pet.  Pluck  up  thy  spirits ;  look  cheerfully  upon  me. 
Here,  love;   thou  see'st  how  diligent  I  am 
To  dress  thy  meat  myself  and  bring  it  thee :  40 

I  am  sure,  sweet  Kate,  this  kindness  merits  thanks. 
What,  not  a  word  ?     Nay,  then  thou  lovest  it  not ; 
And  all  my  pains  is  sorted  to  no  proof. 
Here,  take  away  this  dish. 

Kath.  I  pray  you,  let  it  stand. 

Pet.  The  poorest  service  is  repaid  with  thanks ; 


OF  THE  SHREW  Act  IV.  Sc.  Hi. 

And  so  shall  mine,  before  you  touch  the  meat. 

Kath.  I  thank  you,  sir. 

Hor,  Signior  Petruchio,  fie !  you  are  to  blame. 
Come,  Mistress  Kate,  I  '11  bear  you  company. 

Pet.  Eat  it  up  all,  Hortensio,  if  thou  lovest  me.       [Aside. 
Much  good  do  it  unto  thy  gentle  heart !  5 1 

Kate,  eat  apace :   and  now,  my  honey  love, 
Will  we  return  unto  thy  father's  house, 
And  revel  it  as  bravely  as  the  best. 
With  silken  coats  and  caps  and  golden  rings. 
With  ruffs  and  cuffs  and  fardingales  and  things ; 
With  scarfs  and  fans  and  double  change  of  bravery. 
With  amber  bracelets,  beads  and  all  this  knavery. 
What,  hast  thou  dined  ?     The  tailor  stays  thy  leisure. 
To  deck  thy  body  with  his  ruffling  treasure.  60 

Enter  Tailor. 

Come,  tailor,  let  us  see  these  ornaments ; 
Lay  forth  the  gown. 

Enter  Haberdasher. 

What  news  with  you,  sir? 
Hah.  Here  is  the  cap  your  worship  did  bespeak. 
Pet.  Why,  this  was  moulded  on  a  porringer ; 

A  velvet  dish  :   fie,  fie !    'tis  lewd  and  filthy : 

Why,  'tis  a  cockle  or  a  walnut-shell, 

A  knack,  a  toy,  a  trick,  a  baby's  cap : 

Away  with  it !  come,  let  me  have  a  bigger. 
Kath.  I  '11  have  no  bigger :   this  doth  fit  the  time. 

And  gentlewomen  wear  such  caps  as  these.  70 

Pet.  When  you  are  gentle,  you  shall  have  one  too, 

And  not  till  then. 

89 


Act  IV.  Sc.  iii.  THE  TAMING 

Hor.  That  will  not  be  in  haste.     [Aside. 

Kath.  Why,  sir,  I  trust  I  may  have  leave  to  speak ; 
And  speak  I  will;    I  am  no  child,  no  babe: 
Your  betters  have  endured  me  say  my  mind, 
And  if  you  cannot,  best  you  stop  your  ears. 
My  tongue  will  tell  the  anger  of  my  heart, 
Or  else  my  heart  concealing  it  will  break ; 
And  rather  than  it  shall,  I  will  be  free 
Even  to  the  uttermost,  as  I  please,  in  words.  80 

Pet.  Why,  thou  say'st  true ;   it  is  a  paltry  cap, 
A  custard-coffin,  a  bauble,  a  silken  pie : 
I  love  thee  well,  in  that  thou  likest  it  not. 

Kath.  Love  me  or  love  me  not,  I  like  the  cap ; 
An4  it  I  will  have,  or  I  will  have  none. 

[Exit  Haberdasher. 

Pet.  Thy  gown  ?  why,  ay  :  come,  tailor,  let  us  see  't. 

0  mercy,  God !   what  masquing  stuff  is  here  ? 
What 's  this  ?  a  sleeve  ?  'tis  like  a  demi-cannon  : 
What,  up  and  down,  carved  like  an  apple-tart? 
Here  's  snip  and  nip  and  cut  and  slish  and  slash,      90 
Like  to  a  censer  in  a  barber's  shop : 

Why,  what,  i'  devil's  name,  tailor,  call'st  thou  this  ? 
Hor,  I  see  she  's  like  to  have  neither  cap  nor  gown. 

[Aside. 
Tai.  You  bid  me  make  it  orderly  and  well, 

According  to  the  fashion  and  the  time. 
Pet,  Marry,  and  did ;   but  if  you  be  remember'd, 

1  did  not  bid  you  mar  it  to  the  time. 
Go,  hop  me  over  every  kennel  home. 

For  you  shall  hop  without  my  custom,  sir : 
I  '11  none  of  it :  hence !   make  your  best  of  it.         100 
Kath.  I  never  saw  a  better-fashion'd  gown, 

More  quaint,  more  pleasing,  nor  more  commendable : 

90 


OF  THE  SHREW  Act  IV.  Sc.  iii. 

Belike  you  mean  to  make  a  puppet  of  me. 
Pet.  Why,  true ;  he  means  to  make  a  puppet  of  thee. 
Tai.  She  says  your  worship  means  to  make  a  puppet 

of  her. 
Pet.  O     monstrous     arrogance !     Thou     hest,     thou 

thread,  thou  thimble. 

Thou  yard,  three-quarters,  half-yard,  quarter,  nail ! 

Thou  flea,  thou  nit,  thou  winter-cricket  thou  !         no 

Braved  in  mine  own  house  with  a  skein  of  thread  ? 

Away,  thou  rag,  thou  quantity,  thou  remnant ; 

Or  I  shall  so  be-mete  thee  with  thy  yard, 

As  thou  shalt  think  on  prating  whilst  thou  livest ! 

I  tell  thee,  I,  that  thou  hast  marr'd  her  gown. 
Tai.  Your  worship  is  deceived ;  the  gown  is  made 

Just  as  my  master  had  direction  : 

Grumio  gave  order  how  it  should  be  done. 
Gru.  I  gave  him  no  order ;   I  gave  him  the  stuff. 
Tai.  But  how  did  you  desire  it  should  be  made?  120 

Gru.  Marry,  sir,  with  needle  and  thread. 
Tai.  But  did  you  not  request  to  have  it  cut  ? 
Gru.  Thou  hast  faced  many  things. 
Tai.  I  have. 
Gru.  Face  not  me:    thou  hast  braved  many  men; 

brave  not  me  ;  I  will  neither  be  faced  nor  braved. 

I  say  unto  thee,   I  bid  thy  master  cut  out  the 

gown,  but  I  did  not  bid  him  cut  it  to  pieces : 

ergo,  thou  liest. 
Tai.  Why,    here    is    the    note    of    the    fashion    to   130 

testify. 
Pet.  Read  it. 
Gru.   The   note   lies   in 's   throat   if   he    say    I    said 

so. 

91 


Act  IV.  Sc.  iii.  THE  TAMING 

Tai.   [Reads]  '  Imprimis,  a  loose-bodied  gown  :  * 
Gru.  Master,  if  ever  I  said  loose-bodied  gown,  sew 
me  in  the  skirts  of  it,  and  beat  me  to  death  with 
a  bottom  of  brown  thread:   I  said  a  gown. 

Pet.  Proceed. 

Tai.   [Reads]  '  With  a  small  compassed  cape: '  140 

Gru.  I  confess  the  cape. 

Tai.    [Reads]  '  With  a  trunk  sleeve : ' 

Gru.  I  confess  two  sleeves. 

Tai.    [Reads]  '  The  sleeves  curiously  cut.' 

Pet.  Ay,  there  's  the  villany. 

Gru.  Error  i'  the  bill,  sir;  error  i'  the  bill.  I  com- 
manded the  sleeves  should  be  cut  out,  and  sewed 
up  again ;  and  that  I  '11  prove  upon  thee,  though 
thy  Httle  finger  be  armed  in  a  thimble. 

Tai.  This  is  true  that  I  say:   an  I  had  thee  in  place  150 
where,  thou  shouldst  know  it. 

Gru.  I  am  for  thee  straight :  take  thou  the  bill,  give 
me  thy  mete-yard,  and  spare  not  me. 

Hor.  God-a-mercy,  Grumio !  then  he  shall  have  no 
odds. 

Pet.  Well,  sir,  in  brief,  the  gown  is  not  for  me. 

Gru.  You  are  i'  the  right,  sir :    'tis  for  my  mistress. 

Pet.  Go,  take  it  up  unto  thy  master's  use. 

Gru.  Villain,  not  for  thy  life :   take  up  my  mistress' 

gown  for  thy  master's  use !  160 

Pet.  Why,  sir,  what 's  your  conceit  in  that  ? 

Gru.  O,  sir,  the  conceit  is  deeper  than  you  think  for : 
Take  up  my  mistress'  gown  to  his  master's  use ! 
O,  fie,  fie,  fie! 

Pet.  Hortensio,  say  thou  wilt  see  the  tailor  paid.     [Aside 
Go,  take  it  hence ;  be  gone,  and  say  no  more. 
92 


OF  THE  SHREW  Act  IV.  Sc.  iii. 

Hot.  Tailor,  I  '11  pay  thee  for  thy  govv^n  to-morrow : 
Take  no  unkindness  of  his  hasty  words : 
Away!   I  say;   commend  me  to  thy  master. 

l^Exit  Tailor. 

Pet.  Well,  come,  my  Kate ;  we  will  unto  your  father's  170 
Even  in  these  honest  mean  habiliments : 
Our  purses  shall  be  proud,  our  garments  poor ; 
For  'tis  the  mind  that  makes  the  body  rich ; 
And  as  the  sun  breaks  through  the  darkest  clouds, 
So  honour  peereth  in  the  meanest  habit. 
What  is  the  jay  more  precious  than  the  lark, 
Because  his  feathers  are  more  beautiful? 
Or  is  the  adder  better  than  the  eel. 
Because  his  painted  skin  contents  the  eye? 
O,  no,  good  Kate ;  neither  art  thou  the  worse         180 
For  this  poor  furniture  and  mean  array. 
If  thou  account'st  it  shame,  lay  it  on  me ; 
And  therefore  frolic:   we  will  hence  forthwith, 
To  feast  and  sport  us  at  thy  father's  house. 
Go,  call  my  men,  and  let  us  straight  to  him ; 
And  bring  our  horses  unto  Long-lane  end ; 
There  will  we  mount,  and  thither  walk  on  foot. 
Let 's  see ;  I  think  'tis  now  some  seven  o'clock. 
And  well  we  may  come  there  by  dinner-time. 

%ath.  I  dare  assure  you,  sir,  'tis  almost  two;  190 

And  'twill  be  supper-time  ere  you  come  there. 

Pet.  It  shall  be  seven  ere  I  go  to  horse : 

Look,  what  I  speak,  or  do,  or  think  to  do. 
You  are  still  crossing  it.     Sirs,  let 't  alone : 
I  will  not  go  to-day  ;  and  ere  I  do. 
It  shall  be  what  o'clock  I  say  it  is. 

Hor.  Why,  so  this  gallant  will  command  the  sun. 

[Exeunt. 

93 


Act  IV.  Sc.  iv,  THE  TAMING 

Scene  IV. 

Padua.    Before  Baptista's  house. 

Enter  Tranio,  and  the  Pedant  dressed  like  Vincentio, 

Tra.  Sir,  this  is  the  house :  please  it  you  that  I  call  ? 
Ped.  Ay,  what  else  ?  and  but  I  be  deceived 

Signior  Baptista  may  remember  me. 

Near  twenty  years  ago,  in  Genoa, 

Where  we  were  lodgers  at  the  Pegasus. 
Tra.  'Tis  well ;  and  hold  your  own,  in  any  case. 

With  such  austerity  as  'longeth  to  a  father. 
Ped.  I  warrant  you. 

Enter  Biondello. 

But,  sir,  here  comes  your  boy ; 

'Twere  good  he  were  school'd. 
Tra.  Fear  you  not  him.     Sirrah  Biondello,  ID 

Now  do  your  duty  throughly,  I  advise  you. 

Imagine  'twere  the  right  Vincentio. 
Bion.  Tut,  fear  not  me. 

Tra.  But  hast  thou  done  thy  errand  to  Baptista? 
Bion.  I  told  him  that  your  father  was  at  Venice ; 

And  that  you  look'd  for  him  this  day  in  Padua. 
Tra.  Thou  'rt  a  tall  fellow :  hold  thee  that  to  drink. 

Here  comes  Baptista  :  set  your  countenance,  sir. 

Enter  Baptista  and  Lucentio. 

Signior  Baptista,  you  are  happily  met. 
{To  the  Pedant]   Sir,  this  is  the  gentleman  I  told 
you  of :  20 

I  pray  you,  stand  good  father  to  me  now, 
Give  me  Bianca  for  my  patrimony. 

94 


OF  THE  SHREW  Act  IV.  Sc.  iv. 

Ped.  Soft,  son ! 

Sir,  by  your  leave  :  having  come  to  Padua 

To  gather  in  some  debts,  my  son  Lucentio 

Made  me  acquainted  with  a  weighty  cause 

Of  love  between  your  daughter  and  himself : 

And,  for  the  good  report  I  hear  of  you, 

And  for  the  love  he  beareth  to  your  daughter, 

And  she  to  him,  to  stay  him  not  too  long,  30 

I  am  content,  in  a  good  father's  care, 

To  have  him  match' d ;  and,  if  you  please  to  like 

No  worse  than  I,  upon  some  agreement 

Me  shall  you  find  ready  and  willing 

With  one  consent  to  have  her  so  bestow'd ; 

For  curious  I  cannot  be  with  you, 

Signior  Baptista,  of  whom  I  hear  so  well. 

Bap.  Sir,  pardon  me  in  what  I  have  to  say : 

Your  plainness  and  your  shortness  please  me  well. 

Risfht  true  it  is,  vour  son  Lucentio  here  40 

Doth  love  my  daughter,  and  she  loveth  him, 

Or  both  dissemble  deeply  their  affections : 

And  therefore,  if  you  say  no  more  than  this, 

That  like  a  father  you  will  deal  with  him, 

And  pass  my  daughter  a  sufficient  dower, 

The  match  is  made,  and  all  is  done : 

Your  son  shall  have  my  daughter  with  consent. 

Tra.  I  thank  you,  sir.     Where  then  do  you  know  best 
We  be  affied  and  such  assurance  ta'en 
As  shall  with  either  part's  agreement  stand  ?  50 

Bap.  Not  in  my  house,  Lucentio ;  for,  you  know. 
Pitchers  have  ears,  and  I  have  many  servants : 
Besides,  old  Gremio  is  hearkening  still.; 
And  happily  we  might  be  interrupted. 

95 


Act  IV.  Sc.  iv.  THE  TAMING 

Tra.  Then  at  my  lodging,  an  it  like  you : 

There  doth  my  father  lie ;  and  there,  this  night, 

We  '11  pass  the  business  privately  and  well. 

Send  for  your  daughter  by  your  servant  here ; 

My  boy  shall  fetch  the  scrivener  presently. 

The  worst  is  this,  that,  at  so  slender  warning,         60 

You  are  like  to  have  a  thin  and  slender  pittance. 
Bap.  It  likes  me  well.     Cambio,  hie  you  home. 

And  bid  Bianca  make  her  ready  straight ; 

And,  if  you  will,  tell  what  hath  happened, 

Lucentio's  father  is  arrived  in  Padua, 

And  how  she  's  like  to  be  Lucentio's  wife. 
Bion.  I  pray  the  gods  she  may  with  all  my  heart ! 
Tra.  Dally  not  with  the  gods,  but  get  thee  gone. 

[Exit  Bion. 

Signior  Baptista,  shall  I  lead  the  way  ? 

Welcome  !  one  mess  is  like  to  be  your  cheer  :  70 

Come,  sir ;  we  will  better  it  in  Pisa. 
Bap.  I  follow  you, 

[Exeunt  Tranio,  Pedant,  and  Baptista. 

Re-enter  Biondello. 

Bion.  Cambio. 

Liic.  What  sayest  thou,  Biondello  ? 

Bion.  You  saw  my  master  wink  and  laugh  upon  you? 

Luc,  Biondello,  what  of  that  ? 

Bion.  Faith,  nothing;    but  has  left  me  here  behind, 

to  expound  the  meaning  or  moral  of  his  signs 

and  tokens. 
Luc.  I  pray  thee,  moralize  them.  80 

Bion.  Then  thus.     Baptista  is  safe,  talking  with  the 

deceiving  father  of  a  deceitful  son. 
Luc,  And  what  of  him? 

96 


OF  THE  SHREW  Act  IV.  Sc.  v. 

Bion.  His  daughter  is  to  be  brought  by  you  to  the 
supper. 

Luc.  And  then  ? 

Bion.  The  old  priest  at  Saint  Luke's  church  is  at 
your  command  at  all  hours. 

Luc,  And  what  of  all  this  ? 

Bion.  I  cannot  tell ;   expect  they  are  busied  about  a    90 
counterfeit  assurance:    take   you  assurance  of 
her,  '  cum  privilegio  ad  imprimendum  solum : ' 
to  the  church;    take  the  priest,  clerk,  and  some 
sufficient  honest  witnesses : 

If  this  be  not  that  you  look  for,  I  have  no  more  to  say, 
But  bid  Bianca  farewell  for  ever  and  a  day. 

Luc.  nearest  thou,  Biondello? 

Bion.  I  cannot  tarry :  I  knew  a  wench  married  in  an 
afternoon  as  she  went  to  the  garden  for  parsley 
to  stuff  a  rabbit ;  and  so  may  you,  sir :  and  so,  100 
adieu,  sir.  My  master  hath  appointed  me  to  go 
to  Saint  Luke's,  to  bid  the  priest  be  ready  to 
come  against  you  come  with  your  appendix.       [Exit. 

Luc.  I  may,  and  will,  if  she  be  so  contented  : 

She  will  be  pleased ;  then  wherefore  should  I  doubt  ? 

Hap  what  hap  may,  I  '11  roundly  go  about  her : 

It  shall  go  hard  if  Cambio  go  without  her.        [Exit, 

Scene  V. 

A  public  road. 

Enter  Petruchio,  Katharina,  Hortensio,  and  Servants. 

Pet.  Come  on,  i'  God's  name ;  once  more  toward  our 
father's. 
Good  Lord,  how  bright  and  goodly  shines  the  moon ! 

97 


Act  IV.  Sc.  V.  THE  TAMING 

Kath,  The  moon  !  the  sun  :  it  Is  not  moonhght  now. 
Pet.  I  say  it  is  the  moon  that  shines  so  bright. 
Kath.  I  know  it  is  the  sun  that  shines  so  bright. 
Pet.  Now,  by  my  mother's  son,  and  that 's  myself, 

It  shall  be  moon,  or  star,  or  what  I  list, 

Or  ere  I  journey  to  your  father's  house. 

Go  on  and  fetch  our  horses  back  again. 

Evermore      cross'd      and      cross'd ;       nothing     but 
cross'd!  10 

Hor.  Say  as  he  says,  or  we  shall  never  go. 
Kath.  Forward,  I  pray,  since  we  have  come  so  far, 

And  be  it  moon,  or  sun,  or  what  you  please : 

And  if  you  please  to  call  it  a  rush-candle. 

Henceforth  I  vow  it  shall  be  so  for  me. 
Pet.  I  say  it  is  the  moon. 

Kath.  I  know  it  is  the  moon. 

Pet.  Nay,  then  you  lie :  it  is  the  blessed  sun. 
Kath.  Then,  God  be  bless'd,  it  is  the  blessed  sun. 

But  sun  it  is  not,  when  you  say  it  is  not ; 

And  the  moon  changes  even  as  your  mind.  20 

What  you  will  have  it  named,  even  that  it  is ; 

And  so  it  shall  be  so  for  Katharine. 
Hor.  Petruchio,  go  thy  ways ;  the  field  is  won. 
Pet.  Well,  forward,  forward  !  thus  the  bowl  should  run, 

And  not  unluckily  against  the  bias. 

But,  soft !  company  is  coming  here. 

Enter  Vincent io. 

[To     Vincentio]   Good    morrow,     gentle    mistress: 

where  away? 
Tell  me,  sweet  Kate,  and  tell  me  truly  too. 
Hast  thou  beheld  a  fresher  gentlewoman  ? 
Such  war  of  white  and  red  within  her  cheeks?         30 
98 


OF  THE  SHREW  Act  IV.  Sc.  v. 

What  stars  do  spangle  heaven  with  such  beauty, 
As  those  two  eyes  become  that  heavenly  face  ? 
Fair  lovely  maid,  once  more  good  day  to  thee. 
Sweet  Kate,  embrace  her  for  her  beauty's  sake. 

Hor.  A'  will  make  the  man  mad,  to  make  a  woman  of 
him. 

Kath,  Young  budding  virgin,  fair  and  fresh  and  sweet, 
Whither  away,  or  where  is  thy  abode  ? 
Happy  the  parents  of  so  fair  a  child ; 
Happier  the  man,  whom  favourable  stars 
Allot  thee  for  his  lovely  bed-fellow  !  40 

Pet.  Why,  how  now,  Kate !     I  hope  thou  art  not  mad : 
This  is  a  man,  old,  wrinkled,  faded,  wither'd ; 
And  not  a  maiden,  as  thou  say'st  he  is. 

Kath.  Pardon,  old  father,  my  mistaking  eyes, 
That  have  been  so  bedazzled  with  the  sun, 
That  everything  I  look  on  seemeth  green : 
Now  I  perceive  thou  art  a  reverend  father; 
Pardon,  I  pray  thee,  for  my  mad  mistaking. 

Pet.  Do,  good  old  grandsire  ;  and  withal  make  known 

Which  way  thou  travellest :  if  along  with  us,  50 

We  shall  be  joyful  of  thy  company. 

Vin.  Fair  sir,  and  you  my  merry  mistress. 

That  with  your  strange  encounter  much  amazed  me, 
My  name  is  call'd  Vincentio  ;   my  dwelling  Pisa ; 
And  bound  I  am  to  Padua ;  there  to  visit 
A  son  of  mine,  which  long  I  have  not  seen. 

Pet.  What  is  his  name  ? 

Vin.  Lucentio,  gentle  sir. 

Pet.  Happily  met ;  the  happier  for  thy  son. 
And  now  by  law,  as  well  as  reverend  age, 
I  may  entitle  thee  my  loving  father :  60 

The  sister  to  my  wife,  this  gentlewoman, 

99 


Act  V.  Sc.  i.  THE  TAMING 

Thy  son  by  this  hath  married.     Wonder  not, 

Nor  be  not  grieved :   she  is  of  good  esteem, 

Her  dowry  wealthy,  and  of  worthy  birth ; 

Beside,  so  quahfied  as  may  beseem 

The  spouse  of  any  noble  gentleman. 

Let  me  embrace  with  old  Vincentio, 

And  wander  wt  to  see  thy  honest  son, 

Who  will  of  thy  arrival  be  full  joyous. 
Vin.  But  is  this  true  ?  or  is  it  else  your  pleasure,  70 

Like  pleasant  travellers,  to  break  a  jest 

Upon  the  company  you  overtake? 
Hor.  I  do  assure  thee,  father,  so  it  is. 
Pet,  Come,  go  along,  and  see  the  truth  hereof ;    ' 

For  our  first  merriment  hath  made  thee  jealous. 

[Exeunt  all  but  Hortensio, 
Hor.  Well,  Petruchio,  this  has  put  me  in  heart. 

Have  to  my  widow  !   and  if  she  be  froward. 

Then  hast  thou  taught  Hortensio  to  be  untoward. 

[Exit, 

ACT  FIFTH. 
Scene  I. 

Padua.     Before  Lucentio's  house. 

Gremio   discovered.     Enter  behind  Biondello,  Liicentio, 
and  Bianca. 

Bion.  Softly  and  swiftly,  sir  ;  for  the  priest  is  ready.    ^ 
Luc.  I  fly,  Biondello:   but  they  may  chance  to  need 

thee  at  home ;  therefore  leave  us. 
Bion.  Nay,  faith,  I  '11  see  the  church  o'  your  back ; 

100 


OF  THE  SHREW  Act  V.  Sc.  i. 

and  then  come  back  to  my  master's  as  soon  as  I 
can.  [E.veiiJit  Lucentio,  Bimica,  and  Biondello. 

Gre.  I  marvel  Cambio  comes  not  all  this  while. 

Enter  Petruchio,  Katharina,  Vincoitio,  Grumio,  with 
Attendants. 

Pet.  Sir,  here  's  the  door,  this  is  Lucentio's  house : 

My  father's  bears  more  toward  the  market-place ; 
Thither  must  I,  and  here  I  leave  you,  sir.  lo 

Vin.  You  shall  not  choose  but  drink  before  you  go : 
I  think  I  shall  command  your  welcome  here, 
And,  by  all  likelihood,  some  cheer  is  toward. 

[Knocks, 

Gre.  They  are  busy  within ;  you  were  best  knock 
louder. 

Pedant  looks  out  of  the  zvindozv. 

Ped.  What 's  he  that  knocks  as  he  would  beat  down 
the  gate? 

Vin.  Is  Signior  Lucentio  within,  sir? 

Ped.  He  's  within,  sir,  but  not  to  be  spoken  withal. 

Vin.  What  if  a  man  bring  him  a  hundred  pound  or     20 
two,  to  make  merry  withal. 

Ped.  Keep  your  hundred  pounds  to  yourself:  he 
shall  need  none,  so  long  as  I  live. 

Pet.  Nay,  I  told  you  your  son  was  well  beloved  in 
Padua.  Do  you  hear,  sir? — to  leave  frivolous 
circumstances, — I  pray  you,  tell  Signior  Lucen- 
tio, that  his  father  is  come  from  Pisa,  and  is  here 
at  the  door  to  speak  with  him. 

Ped.  Thou  liest :    his  father  has  come  from  Padua, 

and  here  looking  out  at  the  window.  30 

Vin.  Art  thou  his  father  ? 

Ped.  Ay,  sir;  so  his  mother  says,  if  I  may  believe 
her. 

lOI 


Act  y.  Sc.  i.  THE  TAMING 

Pet.  \To  Vincentio]  Why,  how  now,  gentleman! 
why,  this  is  flat  knavery,  to  take  upon  you  an- 
other man's  name. 

Fed.  Lay  hands  on  the  vihain :  I  beheve  a'  means 
to  cozen  somebody  in  this  city  under  my  coun- 
tenance. 

Re-enter  Biondello. 

Bion.  I  have  seen  them  in  the  church  together:   God 

send   'em   good    shipping!     But   who    is    here?     40 
mine  old  master  Vincentio !   now  we  are  undone, 
and  brought  to  nothing. 

J^in.    [Seeing  Biondello]   Come  hither,  crack-hemp. 

Bion.  I  hope  I  may  choose,  sir. 

Jin.  Come  hither,  you  rogue.  What,  have  you  for- 
got me? 

Bion.  Forgot  you!  no,  sir:  I  could  not  forget  you, 
for  I  never  saw  you  before  in  all  my  life. 

F«7Z.  What,  you  notorious  villain,  didst  thou  never 

see  thy  master's  father,  Vincentio?  50 

Bion.  What,  my  old  worshipful  old  master?  yet 
marry,  sir:  see  where  he  looks  out  of  the  win- 
dow. 

Vin.  Is 't  so,  indeed?  [Beats  Biondello. 

Bion.  Help,  help,  help !  here  's  a  madman  will  mur- 
der me.  [Exit. 

Fed.  Help,  son  !  help,  Signior  Baptista!  [Exit  from  above. 

Fet.  Prithee,  Kate,  let 's  stand  aside,  and  see  the  end 

of  this  controversy.  [They  retire. 

Re-enter  Fedant  hclozu;   Tranio,  Baptista,  and  Servants. 

Tra.  Sir,  what  are  you,  that  offer  to  beat  my  servant?  60 
Vin.  What  am  I,  sir!    nay,  what  are  you,  sir?     O 

102 


OF  THE  SHREW  Act  V.  Sc.  i. 

immortal  gods  !  O  fine  villain  !  A  silken  doub- 
let !  a  velvet  hose !  a  scarlet  cloak !  and  a  copa- 
tain  hat !  O,  I  am  undone !  I  am  undone ! 
while  I  play  the  good  husband  at  home,  my  son 
and  my  servant  spend  all  at  the  university. 

Tra.  How  now !  what 's  the  matter  ? 

Bap.  What,  is  the  man  lunatic? 

Tra.  Sir,   you   seem  a  sober  ancient   gentleman  by     70 
your  habit,  but  your  words  show  you  a  mad- 
man.    Why,  sir,   what  'cerns  it  you  if  I  wear 
pearl  and  gold?     I  thank  my  good  father,  I  am 
able  to  maintain  it. 

Vin.  Thy  father !  O  villain !  he  is  a  sail-maker  in 
Bergamo. 

Bap.  You  mistake,  sir,  you  mistake,  sir.  Pray,  what 
do  you  think  is  his  name  ? 

Vin.  His  name !   as  if  I  knew  not  his  name :    I  have 

brought  him  up  ever  since  he  was  three  years  old     80 
and  his  name  is  Tranio. 

Pcd.  Away,  away,  mad  ass !  his  name  is  Lucentio ; 
and  he  is  mine  only  son,  and  heir  to  the  lands  of 
me,  Signior  Vincentio. 

Vin.  Lucentio !  O,  he  hath  murdered  his  master ! 
Lay  hold  on  him,  I  charge  you,  in  the  Duke's 
name.  O,  my  son,  my  son!  Tell  me,  thou 
villain,  where  is  my  son  Lucentio? 

Tra.  Call  forth  an  officer. 

Enter  one  zvith  an  Officer. 

Carry  this  mad  knave  to  the  gaol.     Father  Bap-     90 
tista,  I  charge  you  see  that  he  be  forthcoming. 

103 


Act  V.  Sc.  i.  THE  TAMING 

Vin.  Carry  me  to  the  gaol ! 

Gre.  Stay,  officer :  he  shall  not  go  to  prison. 

Bap.  Talk  not,  Signior  Gremio :   I  say  he  shall  go  to 

prison. 
Grc.  Take  heed,  Signior  Baptista,  lest  you  be  cony- 

catched  in  this  business :  I  dare  swear  this  is  the 

right  Vincentio. 
Pcd,  Swear,  if  thou  darest. 

Gre.  Nay,  I  dare  not  swear  it.  loo 

Tra.  Then  thou  wert  best  say  that  I  am  not  Lucentio. 
Gre.  Yes,  I  know  thee  to  be  Signior  Lucentio. 
Bap.  Away  with  the  dotard !  to  the  gaol  with  him  ! 
Vin.  Thus  strangers  may  be  haled  and  abused : 

O  monstrous  villain ! 

Re-enter  BiondcUo,  ivitJi  Lucentio  and  Bianca. 

Bion.  O,  we  are  spoiled !    and — yonder  he  is :    deny 

him,  forswear  him,  or  else  we  are  all  undone. 
Luc.  Pardon,  sweet  father.  [Kneeling. 

Vin.  Lives  my  sweet  son? 

[Exeunt  BiondcUo,  Tranio,  and  Pedant, 
as  fast  as  may  he. 
Bian.  Pardon,  dear  father. 
Bap.  How  hast  thou  offended  ? 

Where  is  Lucentio? 
Luc.  Here 's  Lucentio,  no 

Right  son  to  the  right  Vincentio ; 

That  have  by  marriage  made  tliy  daughter  mine, 

While  counterfeit  supposes  blear'd  thine  eyne. 
Gre.  Here  's  packing,  with  a  witness,  to  deceive  us 

all! 
Vin.  Where  is  that  damned  villain  Tranio, 

104 


OF  THE  SHREW  Act  V.  Sc  i. 

That  faced  and  braved  me  in  this  matter  so  ? 
Bap.  Why,  tell  me,  is  not  this  my  Cambio  ? 
Bian.  Cambio  is  changed  into  Lucentio. 
Luc.  Love  wrought  these  miracles.     Bianca's  love        120 

Made  me  exchange  my  state  with  Tranio, 

While  he  did  bear  my  countenance  in  the  town ; 

And  happily  I  have  arrived  at  the  last 

Unto  the  wished  haven  of  my  bliss. 

What  Tranio  did,  myself  enforced  him  to ; 

Then  pardon  him,  sweet  father,  for  my  sake. 
Vin.  I  '11  slit  the  villain's  nose,  that  would  have  sent 

me  to  the  gaol. 
Bap.  But  do  you  hear,  sir?    have  you  married  my 

daughter  without  asking  my  good  will  ?  130 

Vin.  Fear  not,   Baptista;    we  will  content  you,  go 

to :    but  I  will  in,  to  be  revenged  for  this  vil- 

lany.  [Exit. 

Bap.  And  I,  to  sound  the  depth  of  this  knavery.       [Exit. 
Luc.  Look   not   pale,    Bianca;     thy    father   will   not 

frown.  [Exeunt  Lucentio  and  Bianca. 

Gre.  Aly  cake  is  dough :   but  I  '11  in  among  the  rest ; 

Out  of  hope  of  all,  but  my  share  of  the  feast.  [Exit. 
Kath.  Husband,  let 's  follow,  to  see  the  end  of  this  ado. 
Pet.  First  kiss  me,  Kate,  and  we  will.  140 

Kath.  W^hat,  in  the  midst  of  the  street  ? 
Pet.  What,  art  thou  ashamed  of  me? 
Kath.  No,  sir,  God  forbid  ;  but  ashamed  to  kiss. 
Pet.  Why,  then  let 's  home  again.     Come,   sirrah,  let 's 

away. 
Kath.  Nay,  I  will  give  thee  a  kiss :   now  pray  thee,  love, 

stay. 
Pet.  Is  not  this  well  ?     Come,  my  sweet  Kate  : 

Better  once  than  never,  for  never  too  late.       [Exeunt. 

los 


Act  V.  Sc.  ii.  THE  TAMING 

Scene  II. 

Padua.     Lticcntio's  house. 

Enter  Baptista,  Vincentio,  Gremio,  the  Pedant,  Liicentio, 
Bianca,  Petriichio,  Katharina,  Hortensio,  and  Wid- 
ow, Tranio,  Biondello,  and  Griimio:  the  Serving- 
}iien  iviih  Tranio  bringing  in  a  banquet. 

Luc.  At  last,  though  long,  our  jarring  notes  agree : 
And  time  it  is,  when  raging  war  is  done, 
To  smile  at  scapes  and  perils  overblown. 
My  fair  Bianca,  bid  my  father  welcome. 
While  I  with  self-same  kindness  welcome  thine. 
Brother  Petruchio,  sister  Katharina, 
And  thou,  Hortensio,  with  thy  loving  widow. 
Feast  with  the  best,  and  w^elcome  to  my  house : 
My  banquet  is  to  close  our  stomachs  up. 
After  our  great  good  cheer.     Pray  you,  sit  down ; 
For  now  we  sit  to  chat,  as  well  as  eat.  1 1 

Pet.  Nothing  but  sit  and  sit,  and  eat  and  eat! 

Bap.  Padua  affords  this  kindness,  son  Petruchio. 

Pet.  Padua  affords  nothing  but  what  is  kind. 

Hor.  For  both  our  sakes,  I  would  that  word  were  true. 

Pet.  Now,  for  my  life,  Hortensio  fears  his  widow. 

Wid.  Then  never  trust  me,  if  I  be  afeard. 

Pet.  You  are  very  sensible,  and  yet  you  miss  my  sense : 
I  mean  Hortensio  is  afeard  of  you. 

Wid.  He  that  is  giddy  thinks  the  world  turns  round.     20 

Pet.  Roundly  replied. 

Kath.  Mistress,  how  mean  you  that? 

Wid.  Thus  I  conceive  by  him. 

Pet.  Conceives  by  me  !     How  likes  Hortensio  that  ? 

Hor.  My  widow  says,  thus  she  conceives  her  tale. 

106 


OF  THE  SHREW  Act  V.  Sc.  ii. 

Pet.  Very  well  mended.     Kiss  him   for  that,   good 

widow. 
Kath.  '  He  that  is  giddy  thinks  the  world  turns  round  ' : 

I  pray  you,  tell  me  what  you  meant  by  that. 
Wid.  Your  husband,  being  troubled  with  a  shrew, 

Measures  my  husband's  sorrow  by  his  woe : 

And  now  you  know  my  meaning.  30 

Kath.  A  very  mean  meaning. 
Wid.  Right,  I  mean  you. 

Kath.  And  I  am  mean,  indeed,  respecting  you. 
Pet.  To  her,  Kate ! 
Hor.  To  her,  widow ! 

Pet.  A  hundred  marks,  my  Kate  does  put  her  down. 
Hor.  That 's  my  office. 
Pet.  Spoke  like  an  officer :  ha'  to  thee,  lad. 

[Drinks  to  Hortensio, 
Bap.  How  likes  Gremio  these  quick-witted  folks? 
Gre.  Believe  me,  sir,  they  butt  together  well. 
Bian.  Head,  and  butt  I  an  hasty-witted  body  40 

Would  say  your  head  and  butt  were  head  and  horn. 
r/;i.  Ay,  mistress  bride,  hath  that  awaken'd  you? 
Bian.  Ay,  but  not  frighted  me ;  therefore  I  '11  sleep  again. 
Pet.  Nay,  that  you  shall  not :  since  you  have  begun. 

Have  at  you  for  a  bitter  jest  or  two ! 
Bian.  Am  I  your  bird  ?     I  mean  to  shift  my  bush ; 

And  then  pursue  me  as  you  draw  your  bow. 

You  are  welcome  all. 

{Exeunt  Bianca,  Katharina,  and  Widow. 
Pet.  She  hath  prevented  me.     Here,  Signior  Tranio, 

This  bird  you  aim'd  at,  though  you  hit  her  not ;      50 

Therefore  a  health  to  all  that  shot  and  miss'd. 

107 


ActV.Sc.ii.  THE  TAMING 

Tra.  O,  sir,  Liicentio  slipp'd  me  like  his  greyhound, 
Which  runs  himself,  and  catches  for  his  master. 

Pet.  A  good  swift  simile,  but  something  currish. 

Tra.  'Tis  well,  sir,  that  you  hunted  for  yourself : 
'Tis  thought  your  deer  does  hold  you  at  a  bay. 

Bap.  O  ho,  Petruchio !     Tranio  hits  you  now. 

Luc.  I  thank  thee  for  that  gird,  good  Tranio. 

Hot.  Confess,  confess,  hath  he  not  hit  you  here? 

Pet,  A'  has  a  little  gall'd  me,  I  confess ;  60 

And,  as  the  jest  did  glance  away  from  me, 
'Tis  ten  to  one  it  maim'd  you  two  outright. 

Bap.  Now,  in  good  sadness,  son  Petruchio, 
I  think  thou  hast  the  veriest  shrew  of  all. 

Pet.  Well,  I  say  no :  and  therefore  for  assurance 
Let 's  each  one  send  unto  his  wife : 
And  he  whose  wife  is  most  obedient, 
To  come  at  first  when  he  doth  send  for  her, 
Shall  win  the  wager  which  we  will  propose. 

Hor,  Content.     What  is  the  wager  ? 

Luc.  ■  Twenty  crowns.     70 

Pet.  Twenty  crowns ! 

I  '11  venture  so  much  of  my  hawk  or  hound, 
But  twenty  times  so  much  upon  my  wife. 

Luc.  A  hundred  then. 

Hor.  Content. 

Pet.  A  match  !   'tis  done. 

Hor.  Who  shall  begin  ? 

Lite.  That  will  I. 

Go,  Biondello,  bid  your  mistress  come  to  me. 

Bion.  I  go.  [Exit, 

Bap.  Son,  I  '11  be  your  half,  Bianca  comes. 

Lite.  I  '11  have  no  halves  ;   I  '11  bear  it  all  myself. 

108 


OF  THE  SHREW  Act  V.  Sc.  ii. 

Re-enter  Biondello. 

How  now  !  what  news  ? 
Bion.  Sir,  my  mistress  sends  you  word     80 

That  she  is  busy,  and  she  cannot  come. 
Pet.  How  !  she  is  busy,  and  she  cannot  come  ! 

Is  that  an  answer  ? 
Gre.  Ay,  and  a  kind  one  too  : 

Pray  God,  sir,  your  wife  send  you  not  a  worse. 
Pet.  I  hope,  better. 
Hor.  Sirrah  Biondello,  go  and  entreat  my  wife 

To  come  to  me  forthwith.  [Exit  Biondello. 

Pet.  O,  ho !   entreat  her ! 

Nay,  then  she  must  needs  come. 
Hor.  I  am  afraid,  sir, 

Do  what  you  can,  yours  will  not  be  entreated. 

Re-enter  Biondello. 

Now,  where  's  my  wife?  90 

Bion.  She  says  you  have  some  goodly  jest  in  hand: 

She  will  not  come ;  she  bids  you  come  to  her. 
Pet.  Worse  and  worse ;  she  will  not  come !     O  vile, 

Intolerable,  not  to  be  endured ! 

Sirrah  Grumio,  go  to  your  mistress ; 

Say,  I  command  her  come  to  me.  [Exit  Grumio. 

Hor.  I  know  her  answer. 
Pet.  What? 

Hor.  She  will  not. 

Pet.  The  fouler  fortune  mine,  and  there  an  end. 
Bap.  Now,  by  my  holidame,  here  comes  Katharina ! 

Re-enter  Katharina. 

Kath.  What  is  your  will,  sir,  that  you  send  for  me?  100 

log 


Act  V.  Sc.  ii.  THE  TAMING 

Pet.  Where  is  your  sister  and  Hortensio's  wife  ? 

Kath.  They  sit  conferring  by  the  parlour  fire. 

Pet.  Go,  fetch  them  hither :  if  they  deny  to  come, 

Swinge  me  them  soundly  forth  unto  their  husbands : 
Away,  I  say,  and  bring  them  hither  straight. 

[Exit  Katharina. 

Luc.  Here  is  a  wonder,  if  you  talk  of  a  wonder. 

Hor.  And  so  it  is :   I  wonder  what  it  bodes. 

Pet.  Marry,  peace  it  bodes,  and  love,  and  quiet  life, 
An  awful  rule,  and  right  supremacy ; 
And,  to  be  short,  what  not,  that 's  sweet  and  happy  ? 

Bap.  Now,  fair  befall  thee,  good  Petruchio!  iii 

The  wager  thou  hast  won ;   and  I  will  add 
Unto  their  losses  twenty  thousand  crowns ; 
Another  dowry  to  another  daughter. 
For  she  is  changed,  as  she  had  never  been. 

Pet.  Nay,  I  will  win  my  wager  better  yet. 
And  show  more  sign  of  her  obedience, 
Her  new-built  virtue  and  obedience. 
See  where  she  comes  and  brings  your  froward  wives 
As  prisoners  to  her  womanly  persuasion.  120 

Re-enter  Katharina,  zuitJi  Bianca  and  Widow. 

Katharina,  that  cap  of  yours  becomes  you  not : 
Off  with  that  bauble,  throw  it  under-foot. 

VVid.  Lord,  let  me  never  have  a  cause  to  sigh. 
Till  I  be  brought  to  such  a  silly  pass ! 

Bian.  Fie,  what  a  foolish  duty  call  you  this? 

Luc.  I  would  your  duty  were  as  foolish  too: 
The  wisdom  of  your  duty,  fair  Bianca, 
Hath  cost  me  an  hundred  crowns  since  supper-time. 

Bian.  The  more  fool  you,  for  laying  on  my  duty.  129 


OF  THE  SHREW  Act  V.  Sc.  ii. 

Pet.  Katharina,    I    charge    thee,    tell    these    headstrong 
women 
What  duty  they  do  owe  their  lords  and  husbands. 

Wid.  Come,   come,   you  're  mocking :    we   will   have  no 
telling. 

Pet.  Come  on,  I  say;   and  first  begin  with  her. 

Wid.  She  shall  not. 

Pet.  I  say  she  shall :   and  first  begin  with  her. 

Kath.  Fie,  fie !   tmknit  that  threatening  unkind  brow  ; 
And  dart  not  scornful  glances  from  those  eyes. 
To  wound  thy  lord,  thy  king,  thy  governor: 
It  blots  thy  beauty  as  frosts  do  bite  the  meads. 
Confounds  thy  fame  as  whirlwinds  shake  fair  buds, 
And  in  no  sense  is  meet  or  amiable.  141 

A  woman  moved  is  like  a  fountain  troubled. 
Muddy,  ill-seeming,  thick,  bereft  of  beauty; 
And  while  it  is  so,  none  so  dry  or  thirsty 
Will  deign  to  sip  or  touch  one  drop  of  it. 
Thy  husband  is  thy  lord,  thy  life,  thy  keeper, 
Thy  head,  thy  sovereign;   one  that  cares  for  thee. 
And  for  thy  maintenance  commits  his  body 
To  painful  labour  both  by  sea  and  land. 
To  watch  the  night  in  storms,  the  day  m  cold,      150 
Whilst  thou  liest  warm  at  home,  secure  and  safe ; 
And  craves  no  other  tribute  at  thy  hands 
But  love,  fair  looks  and  true  obedience ; 
Too  little  payment  for  so  great  a  debt. 
Such  duty  as  the  subject  owes  the  prince 
Even  such  a  woman  oweth  to  her  husband; 
And  when  she  is  froward,  peevish,  sullen,  sour, 
And  not  obedient  to  his  honest  will. 
What  is  she  but  a  foul  contending  rebel, 
And  graceless  traitor  to  her  loving  lord?  160 

I  am  ashamed  that  women  are  so  simple 


Act  V.  Sc.  ii.  THE  TAMING 

To  offer  war  where  they  should  kneel  for  peace ; 

Or  seek  for  rule,  supremacy  and  sway, 

When  they  are  bound  to  serve,  love  and  obey. 

Why  are  our  bodies  soft  and  w^eak  and  smooth, 

Unapt  to  toil  and  trouble  in  the  world, 

But  that  our  soft  conditions  and  our  hearts 

Should  well  agree  with  our  external  parts? 

Come,  come,  you  f  roward  and  unable  worms ! 

My  mind  hath  been  as  big  as  one  of  yours,  170 

My  heart  as  great,  my  reason  haply  more, 

To  bandy  word  for  word  and  frown  for  frown ; 

But  now  I  see  our  lances  are  but  straws. 

Our  strength  as  weak,  our  weakness  past  compare, 

That  seeming  to  be  most  which  we  indeed  least  are. 

Then  vail  your  stomachs,  for  it  is  no  boot. 

And  place  your  hands  below  your  husband's  foot: 

In  token  of  which  duty,  if  he  please, 

]\Iy  hand  is  ready,  may  it  do  him  ease.  179 

Pet.  Why,   there 's   a   wench !     Come   on,    and   kiss  me, 
Kate. 

Luc.  Well,  go  thy  ways,  old  lad ;    for  thou  shalt  ha  't. 

Vin.  'Tis  a  good  hearing,  when  children  are  toward. 

Luc.  But  a  harsh  hearing,  when  women  are  fro  ward. 

Pet.  Come,  Kate,  we  '11  to  bed. 

We  three  are  married,  but  you  two  are  sped. 
'Twas  I  won  the  wager,  though  you  hit  the  white ; 

[To  Lucentio. 
And,  being  a  winner,  God  give  you  good  night! 

[Exeunt  Petruchio  and  Katharina. 

Hor.  Now,  go  thy  ways ;  thou  hast  tamed  a  curst  shrew. 

Luc.  'Tis  a  wonder,  by  your  leave,  she  will  be  tamed  so. 

[Exeunt. 


112 


OF  THE  SHREW 


Glossary. 


Above  (so  Folios  i,  2,  and 
Quarto;  Folios  3  and  4, 
"  about")  ;  Indnzi.  ii.   115. 

Achieve,  gain,  possess;  I.  i.  160. 

Adversaries,  opposing  counsel ; 
I.  ii.  278. 

Advice,  reflection,  second 
thoughts;  I.  i.  117. 

Advised;  "art  thou  not  ad- 
vised, do  you  not  under- 
stand"; I.  i.  190. 

AfHed,  affianced,  betrothed ; 
IV.  iv.  49. 

Agenor;  "  the  daughter  of  A.," 
i.e.  "  Europa,  for  whose  sake 
Jupiter  translated  himself 
into  a  bull  " ;  I.  i.  172. 

Aglet-baby,  the  tag  of  a  point 
or  lace,  with  a  head  formed 
into  a  small  figure ;  I.  ii.  79. 

Aim'd,  guessed ;  II.  i.  238. 

AVce,  a  contracted  form  of 
"Alice";  Induct,  ii.  112. 


Token  of  Alee  Wates,  who  lived  at  the 
Sign  of  the  Three  Pigeons. 

"A  little  pot,  and  soon  hot"; 
alluding  to  the  proverb,  "  a 
little  pot  is  soon  hot " ;  IV. 
i.  6. 


''Alia  nostra  casa  ben  venuto," 
etc..  Welcome  to  our  house 
my  much  honoured  Signior ; 
I.  ii.  25-6. 

Amort,  dejected;  IV.  iii.  36. 

An,  if;  I.  i.  131. 

Ancient,  old,  former;  Induct,  ii. 
2>^;  I.  ii.  47- 

And  ajl  one,  but  it  does  not 
matter;  IV.  ii.  loi. 

Angel;  "ancient  angel,"  prob- 
ably a  cant  term  for  a  good 
old  soul ;  IV.  ii.  61. 

Anna,  the  sister  of  Dido;  I.  i. 
158. 

Antic,  buffoon,  oddity;  Induct. 
i.  loi. 

Apes;  "  lead  apes  in  hell,"  al- 


A  mediceval  ape-leader. 
From  the  Dialogues  de  St.   Gregoire, 
preserved  at  Brussells  (Xllth  Cent. 
MS.,  Bibl.  Reg.  9917). 


113 


Glossary 


THE  TAMING 


luding  to  the  old  belief  that 

spinsters   lead    apes    in   hell ; 

11.  i.  34. 
Apply,  i.e.  "ply,"  or  (?)   apply 

myself  to ;  1.  i.  19. 
Argosy,  a  merchant-ship ;  II.  i. 

376. 
Arms,     play     upon     the     two 

senses,  ordinary  and  heraldic, 

of  arms;  II.  i.  222. 
Arras,  tapestry ;  II.  i.  353. 
As,  so  that;  Induct,  i.  70;  as  if, 

I.   ii.    157;   as   though,   II.   i. 

160;  that,  IV.  iii.  114. 
Assurance,  legal  settlement;  II. 

i.  389. 
At  a  bay,  at  bay;  V.  ii.  56. 
Awful, 3.we  inspiring ;   V.  ii.  389. 

Baccare,  a  cant  word,  meaning 
go  back,  used  in  allusion  to 
a  proverbial  saying,  "  Back- 
are,  quoth  Mortimer  to  his 
sow  " ;  probably  made  in  ridi- 
cule of  some  man  who  afifect- 
cd  a  knowledge  of  Latin 
without  knowing  it ;  II.  i.  JZ- 

Balk;  "b.  logic,"  i.e.  (prob- 
ably)  chop  logic;  I.  i.  34. 

Balm,  anoint ;  Induct,  i.  48. 

Bars,  prevents ;   Induct,  ii.  138. 

Basta  (Italian),  enough;  I.  i. 
202. 

Bate,  flap  the  wings ;  IV.  i.  191. 

Bear-herd,  a  leader  of  a  tame 
bear ;  Induct,  ii.  21. 

Bears  me  fair  in  hand,  gives  me 
every  encouragement ;  IV.  ii. 

3- 

Beholding,  beholden;  I.  ii.  274. 

Belike,  perhaps,  probably;  In- 
duct, i.  75. 


Be-mete,  be-measure;  IV.  iii. 
113. 

Bemoiled,  besmirched,  bedrag- 
gled; IV.  i.  7^. 

Ben  venuto ;  "  I  shall  be  your 
b.  v.,"  i.e.  "  I  will  guarantee 
your  welcome  "  ;  I.  ii.  282. 

Bestraught  =  distraught  =  dis- 
tracted; Induct,  ii,  27. 

Bias,  a  weight  on  one  side  of 
a  bowl,  which  affects  its  di- 
rection ;  IV.  V.  25. 

Bill,  with  a  play  upon  the  two 
senses  of  "  bill  "  ;  IV.  iii.  152. 

Blear 'd,  dimmed;  V.  i.  113. 

Blue  coats,  the  dress  of  com- 
mon serving  men ;  IV.  i.  87. 

Board,  woo ;  I.  ii.  95. 

Books;  "  put  me  in  thy  books," 
i.e.  good  books ;  used  with  a 
playful  quibble ;  II.  i.  225. 


This  curious  illustration  of  the  above 
phrase  is  taken  from  a  XV  th  Century 
painting  in  Carlisle  Cathedral,  illus- 
trating a  legendary  history  of  St. 
Augustine. 


114 


or  THE  SHREW 


Glossary 


Boot,  avail,  use;  V.  if.   176. 
Boot-hose,    stocking    suited    to 
wear  with  boots ;  III.  ii.  67. 
Boss'd,  embossed,  studded;  II. 

i.  355- 

Bottom,  a  ball  (of  thread)  ;  IV. 
iii.  138. 

Bow'd,  bent;  II.  i.  151. 

Brack,  a  kind^of  scenting-dog, 
properly  a  female  hound 
{'Brack  Merriman,"  1,  17, 
vide  Note)  ;   Induct,  i.   18. 

Bravie,  i.e.  handsomely  clad ; 
Induct,  i.  40. 

Braved,  used  in  double  sense, 
(i)  made  fine,  and  (2)  out- 
braved; (similarly  "face," 
ibid.)  ;  IV.  iii.  125. 

Bravery,  finery ;  IV.  iii.  57. 

Braves,  bullying;  III.  i.  15. 

Breatked,  in  full  career ;  In- 
duct, ii.  50. 

Breeching  sckolar,  schoolboy; 
in  Elizabethan  times,  liable  to 
be  whipped;  III.  i.  18. 


The  seal  of  Louth  Grammar  School, 
founded  1552.  (See  Joitrti.  Brit. 
Arch.  Asso.,  1856,  p.  154.) 

jBrmg  =  take;  IV.  i.  173. 


Buckler,  shield ;  III.  ii.  239. 
Bugs,  bugbears;  I.  ii.  211. 
Burst,  broken ;  Induct,  i.  8 ;  IV. 

i.  78. 
Burton-keatk,     probably     Bar- 

ton-on-the-heath,  a  village  in 

Warwickshire ;  Induct,  li.  19. 
But,  except,  unless;  III.  i.  62; 

IV.  iv.  2. 
Buttery,   a   place    for    keeping 

provisions,  especially  liquor; 

Induct,  i.  102. 
Bu::2,  used  equivocally  with  a 

play  upon  "be"    (^'bee") 

and  "  Iduzz,"   an    interjection 

to  command  silence ;   II.  i  207. 
Bussard,     II.     i.     207-9     (vide 

Note). 

Carousing  to,  drinking  healths 
to;  III.  ii.  171. 

Carpets,  probably  "  table-cov- 
ers " ;  IV.  i.  50. 

Cart  (used  as  a  play  upon 
"  court  "),  to  punish  a  culprit 
by  carting,  a  punishment  akin 
to  the  ducking-stool ;  I.  i.  55. 

Cast  on  no  zvater ;  alluding  to 
the  old  catch,  "  Scotland 
burneth,  Scotland  burneth ! 
Fire,  fire,  fire,  fire !  Cast  on 
water,  cast  on  water!"  IV.  i. 

2T. 

Censer,  a  fire  pan  which  was 
used  for  burning  perfumes ; 
IV,  iii.  91. 

'Cents  =  concerns  ;  V.  i.  72. 

Chafed,  made  furious ;  I.  ii.  203. 

Chapeless,  without  a  chape ;  the 
"  chape  "  was  the  metal  part 
at  the  end  of  the  scabbard; 
III.  ii.  47. 


115 


Glossary 


THE  TAMING 


Checks  (so  the  Folios  and 
Quarto ;  Blackstone  "  eth- 
ics " ;  the  old  play  in  corre- 
sponding passage,  "  Aristot- 
le's walks"),  austere  rules; 
I.  i.  32. 

Close,  secretly ;  Induct,  i.  127. 

Cock's,  common  corruption  of 
the  name  of  God;  IV.  i.  113. 

Conformable,  compliant,  yield- 
ing; II.  i.  280. 

Comonty;  Sly's  blunder  for 
"  Comedy  "  ;  Induct,  ii.  140. 

Compassed,  round;  IV.  iii.  140. 

Conditions;  "  soft  c,"  gentle 
qualities ;  V.  ii.  167. 

Conserves,  preserves ;  Induct. 
ii.  3- 

Contented,  pleased ;  IV.  iv.  104. 

Contents,  pleases;   IV.  iii.   179. 

Content  you,  keep  your  temper  ; 
II.  i.  343. 

Contrive,  while  away;  I.  ii.  276. 

Con  tutto,  etc. ;  with  all  my 
heart,  well  met !  I.  ii.  24. 

Cony-catchcd,  deceived,  trick- 
ed; V.  i.  96. 

Cony-catching,  trickery,  fool- 
ery ;  IV.  i.  43. 

Copatain  hat,  a  high  crowned 
hat;  V.  i.  63. 


From  Holme's  Academy  of  Armory 
(1688}. 


Countenance,  do  honour  to ;  IV. 

i.  99- 
Counterpoints,       counterpanes ; 

II-  i.  353- 
Coxcomb,  the  ornament    on    a 

fool's  cap ;  II.  i.  226. 


,-^^;::^>" 


From  an  engraving  by  Fairholt  of  an 
old  painting. 

Crab,  crab-apple ;  II.  i.  230. 

Crack-hemp,  one  who  deserves 
hanging;  V.  i.  43. 

Craven,  a  beaten  cock;  II.  i. 
228. 

Credit,  do  honour  to ;  IV.  i. 
100. 

Cried ;  "  he  cried  upon  it  at  the 
merest  loss,"  i.e.  he  gave  the 
cry  when  the  scent  seemed 
utterly  lost ;  Induct  i.  23. 

Cullion,  base  fellow ;  IV.  ii.  20. 

Cum  privilcgio  ad  imprimen- 
dum  solum,  i.e.  "  with  exclu- 
sive copyright,"  used  with 
reference  to  marriage-rights ; 
IV.  iv.  92. 

Cunning,  skill,  art;  Induct,  i. 
92. 


116 


OF  THE  SHREW 


Glossary 


Cunning,   skilful,   clever ;     I.    i. 

97;  n.  i-  56. 

Curious,  punctilious  ;  IV.  iv.  36. 

Curst,  shrewish ;  I.  i.  184. 

Custard-coMn;  the  raised  crust 
of  a  custard  was  called  a  cof- 
fin; IV.  iii.  82. 

Cytherea,  Venus ;  Induct,  ii.  53. 

Dance  bare-foot;  "  I  must 
dance  bare-foot  on  her  wed- 
ding day,"  alluding  to  the  old 
custom  that  the  elder  unmar- 
ried sisters  danced  without 
shoes  at  the  marriage  of  the 
youngest  daughter ;   II.  i.  S3- 

Declining;  "  d.  head  into  "= 
head  d.  into;   Induct,   i.   119. 

Deep-mouth'd,  having  a  deep- 
sounding  bark;  Induct,  i.  18. 

Demi-cannon,  a  kind  of  ord- 
nance ;  IV.  iii.  88. 

Denier,  a  very  small  coin;  the 
twelfth  part  of  a  sou  ;  Induct, 
i.  9. 

Diaper,  a  towel  of  figured  lin- 
en; Induct,  i.  57. 

Digress,  deviate  (from  his 
promise)  ;  III.  ii.  107. 

Dog-wearv,  "  tired  as  a  dog  "  ; 
IV.  ii.  60. 

Domineer,  indulge  without  re- 
straint ;  III.  ii.  224. 

Dough;  "our  cakes  are  dough 
on  both  sides,"  etc. ;  i.e.  we 
are  disappointed ;  a  popular 
proverb,  I.  i.  no;  V.  i.  137. 

Eleven  and  twenty,  supposed  to 
be  an  allusion  to  the  game  of 
one  and  thirty ;  IV.  ii.  57. 


Emboss' d,  foaming  at  the 
mouth ;  a  hunter's  term ;  In- 
duct, i.  17. 

Embracements,  embraces;  In- 
duct, i.  118. 

EiKounter,  greeting;  IV.  v.  54. 

Expect,  believe  (Folio  2,  'ex- 
cept ')  ;  IV.  iv.  90. 

"  Fac'd  it  with  a  card  of  ten," 
played  the  best  card,  the 
trump  card;  II.  i.  407. 

Fair,  in  state,  finery;  II.  i.  17. 

"  Fair  befal  thee,"  good  fortune 
befal  thee ;  V.  ii.  in. 

Fardingales  =  farthingales, 
hoops;  IV.  iii.  56. 

Fashions  (a  corruption  of  far- 
cins), a  skin  disease  in 
horses;  III.  ii.  52. 

Fault;  "  coldest  f.,"  i.e.  absolute 
loss  of  scent ;  Induct,  i.  20. 

Fay,  faith ;  Induct,  ii.  83. 

Fear,  frighten;  I.  ii.  211. 

Fears;  used  equivocally,  (i)  is 
afraid  of;  (2)  affrights;  V. 
ii.  16. 

Few;  "in  a  few,"  i.e.  in  a  few 
words ;  I.  ii.  52. 

Fine,  smart;  IV.  i.  131. 

Fives,  a  disease  in  horses ;  III. 
ii.  54. 

"  Florentius'  love";  an  allusion 
to  a  story  in  Gower's  Con- 
fessio  Amantis;  a  Knight 
Florent  agrees  to  marry  an 
ugly  hag,  if  she  will  teach 
him  to  solve  a  riddle  on 
which  his  life  depends  {cp. 
Chaucer's  Wife  of  Bath's 
Tale)  ;  I.  ii.  69. 

Flouts,  mocks;  II.  i.  29. 


117 


Glossary 


THE  TAMING 


Fool,  a  professional   fool ;   I.  i. 

65. 
For  assurance,  to  make    sure; 

V.  ii.  65. 
Foul,  ugly,  deformed ;  I.  ii.  69. 
Frets,  stops  of  the  lute ;   II.  i. 

150. 
Fretting,  spoiling   (with  a  play 

upon  "  fret "  in  the  ordinary 

sense)  ;  II.  i.  330. 
Froward,  refractory ;  I.  i.  69. 
Full,  exactly ;  I.  i.  202. 
Furniture,    dress,    furnishings; 

IV.  iii.  181. 

Galliasses,  large  galleys ;  II.  i. 
380. 

Gamhold,  the  old  form  of 
"  gambol,"  growing  obsolete 
in  Shakespeare's  time ;  hence 
used  by  Sly ;  Induct,  ii.  140. 

Gamester,  used  contemptuous- 
ly ;  II.  i.  402. 

Gamut,  III.  i.  71.  (See  accom- 
panying example  of  Mediae- 
val Sol-fa  from  Naylor's 
Shakespeare  and  Music,  q.v. 
pp.  37,  186.) 


Gogs-ivouns,  a  corruption  of 
'*  God's  wounds  "  ;  III.  ii,  160. 

Good  shipping,  a  good  voyage, 
good  luck ;  V.  i.  40. 

Grace,  a  kindness ;  I.  ii.  131. 

Gramercies,  i.e.  "  grands  mer- 
cies," great  thanks;  I.  i.  41. 

Gratify,  reward ;  I.  ii.  273. 

Green;  "whiles  your  boots  are 
green,"  i.e.  (?)  freshly 
greased,  or  fresh,  new  (cp. 
colloquial  phrase,  "  before 
your  shoes  wear  out")  ;  III. 
ii.  211. 

Grissel,  the  typical  instance  of 
womanly  patience ;  an  allu- 
sion to  Griselda,  the  heroine 
of  Chaucer's  Clerk's  Tale ; 
II.  i.  297. 

Haggard,  a  wild  hawk ;   IV.  i. 

188. 
Haled,  pulled   away   by   force ; 

V.  i.  104. 
Halt,  limp  ;  II.  i.  2-S. 
Hand;  "  at  any  hand,"  in  any 

case :  I.  ii.   147. 
Hap,  good  luck;  I.  ii.  269. 


(^'^alural  Hexachord) 


(Hard  Hexachord) 


^=r. 


-rf 


m 


h     Re    Mi    Fa     Sol    La        Ut      Re      Mi       Fa      Sol     La 


Gawds,       ornaments,      trifling 

toys;  II.  i.  3. 
Gentles,  gentlemen;  III.  li.  93. 
Gifts,  endowments,  abilities;  I. 

i.  106. 
Gird,  gibe ;  V.  ii.  58. 
Give  over,  leave ;  I.  ii.  105.     * 
God-a-mercy,  God  have  mercy; 

IV.  iii.  154. 


Happily,  haply,  perhaps ;  IV. 
iv.  54. 

"  Happy  man  be  his  dole,"  hap- 
piness   be    his    portion;    I.    i. 

143- 
Hard;  "that  goes  hard,"  that 's 

bad;   IV.   ii.  80. 
Ha'  to  thee,  here's  to  thee;  V. 

ii-  Z7- 


118 


OF  THE  SHREW 


Glossary 


Have,  get ;  Induct,  ii.  39. 
Have  to  't,  set  to  it ;  I.  i.  142. 
He  =^  man;  III.  ii.  234. 
Hie    ibat    Simois,    etc. ;     from 

Ovid,  Epis.  Hcruid,  I.  ^3, ;   HI. 

28-9. 
High-cross,    the    market-place, 

where  formerly  a  cross  was 

always  erected;  I.  i.  135. 
Hilding,     term     of     contempt ; 

menial ;   II.  i.  26. 
Hipped,   covered   to 

III.  ii.  48. 
"Hit    the    white"', 

centre     of 

the  target; 

with   allu- 

s  i  o  n     to 

B  i  a  n  c  a 

(white)    a 

term    in 

archery  ; 

halidom ; 
H  olidame , 

V.  ii.   186. 

"  by      my 


the    hips 
hit 


the 


From  Ward's  PFi?^ /c7  Drunkards(ib2']\ 
The  picture  illustrates  '"  the  degen- 
eracy of  the  a^e  by  a  comparison  of 
its  follies  with  the  manly  virtuts  of 
a  former  period,  which  are  typified 
by  the  booted  leg  in  the  stirrup,  etc." 


From  an  illumination  in  the  Loutterell  Psalter  (XlVth  Cent.). 


halidom  "=  upon 
my  sacred  word  or  oath ;  V. 
ii.  99. 

"Humour  of  forty  fancies"; 
probably  the  title  of  a  collec- 
tion of  ballads;  III.  ii.  69. 

Hungcrly,  hungrily,  scantily ; 
HI.  ii.  175. 

Hurly,  hurly-burly ;  IV.  i.   198. 

Husband,  economist,  house- 
keeper, y.  i.  65. 

Husht,  hush!  {cp.  "hist," 
"  whist  ")  ;  I.  i.  68. 

Idle,  absurd ;   Induct,  ii.   14. 
Indifferent,  equally:  I.  ii.  181. 
Indifferent;  "  garters  of  an  in- 


different knit,"  i.e.  tied  in  an 
ordinary  way,  not  looped 
conspicuously;    IV.   i.   88. 

Ingenious,  probably  "  ingenu- 
ous"; Sh.  uses  the  two 
words  indiscriminately ;  I.  i.  9. 

Ingrate,  ungrateful ;  I.  ii.  270. 

Intend,  pretend;  IV.  i.  198. 

/«^o/^ra&/^  =  intolerably ;   I.  ii. 

89. 
/  -dcis,  i.e.  iwis,  truly ;  I.  i.  62. 

Jack,  a  term  of  contempt ;  II.  i. 
159. 

"Jack,  boy!  ho!  boy!"  the 
commencement  of  an  old 
catch;  IV.  i.  41.     (See  Nay- 


119 


Glossary 


THE  TAMING 


lor's  Shakespeare  and  Music, 
p.  199.) 

Jacks  .  .  .  Jills,  drinking- 
vessels  made  respectively  of 
leather  and  metal,  with  a 
play  upon  "jacks,"  men  serv- 
ants, and  "Jills,"  maid  serv- 
ants; IV.  i.  49. 

Jade,  worthless  nag ;  I,  ii.  249. 

Jealous,  suspicious;  IV.  v.  76. 

Join'd-stool,  a  kind  of  folding 
chair;  II.  i.  199. 

Joltheads,  blockheads ;  IV.  i, 
161. 

Jump,  agree ;  I.  i.  194. 

Junkets,  dainties ;  III.  ii.  248. 

Kate,  a  play  on  Kate  and  cat', 

II.  i.  279. 

Kated,    perhaps    with    a    play 

upon  cat;  III.  ii.  245, 
Kates;      "  Dainties       are       all 

Kates  " ;  a  play  on  the  word 

cates',  II,  i.  190. 
Keep  you  warm;   referring  to 

the    proverb    "  To    have    wit 

enough    to    keep    one's    self 

warm";  II.  i.  268. 
Kennel,  gutter;  IV.  iii.  98. 
Kindly;    "  let    him    come    and 

kindly  " ;  evidently  used  like 

the  colloquial  "  welcome,"  to 

express  indifference ;   Induct. 

i.   15;   in  a  natural   manner; 

Induct,  i.  66. 
Knack,  knick-knack,  trifle ;  IV. 

iii.  67. 

Lampass,  a  disease  in  horses; 

III.  ii.  51. 

Laying  on,  laying  a  wager  on ; 
V.  ii.  129. 


Leda's  daughter,  i.e.  Helen;  I. 
ii.  244. 

Leet,  Court-leet,  which  tried 
those  who  used  false  weights 
and  measures ;  Induct,  ii.  89. 

'Leges  =  alleges  ;  I.  ii.  28. 

Lewd,  vile;  IV.  iii.  65. 

Lie,  stay,  lodge;  IV.  iv.  56. 

Lief,  gladly,  willingly ;  I.  i,  134. 

Like,  likely ;  IV.  iv.  70. 

Like  of  =  like  ;  II.  i.  65. 

Link,  a  pitch  torch ;  IV.  i.  129. 

Lodging,  chamber ;  Induct,  i.  49. 

Longly,  a  great  while,  a  long 
time   (  ?  longingly)  ;  I.  i.  169. 

Look  big,  angrily ;  III.  ii.  228, 

Lovely,  loving;  III.  ii.  123. 

Lure,  a  stuffed  bird  used  in  fal- 
conry for  training  the  hawk; 
IV.  i.  187. 


From  an  illumination  in  Le  Livre  du 
Roy.  Modus..,  Nat.  Lib.,  Paris. 

Lusty,  lively ;  II.  i.  161. 

Maidenhead,  maidenhood;  III. 
ii.  225. 

Malt-horse,  a  brewer's  horse ; 
used  as  a  term  of  contempt; 
IV.  i.   124. 

Man,  tame;  IV.  i.  188. 

Marr'd  .  .  .  made,  a  fa- 
vourite quibble  in  old  Eng- 
lish literature ;  the  two 
words  were  pronounced  al- 
most alike;  IV.  iii.  115-116. 


I 


120 


OF  THE  SHREW 


Glossary 


Married  o'  Sunday;  "we  will 
be  married  o'  Sunday  "  ;  the 
burden  of  several  popular 
songs,  the  best  known  occur- 
ring in  Ralph  Roister  Doister ; 
11.  i.  326. 

Mart,  bargain ;  II.  i.  329. 

Masquing,  masquerading ;  IV. 
iii.  87. 

Meacock,  timorous,  worthless ; 
II.  i.  315- 

Meaner,  of  lower  rank ;  I.  i. 
209. 

Mercatante  (spelt  "  marcan- 
tant "  in  Folios  and  Quarto), 
merchant ;  IV.  ii.  62,. 

Merry  passion,  merriment ;  In- 
duct, i.  97. 

Mess,  course ;  IV.  iv.  70. 

Mew  up,  shut  up ;  I.  i.  87. 

Minion,  saucy  wench ;  II.  i.  13. 

Mi  perdonato  (Folios  "me  par- 
donato  "  ;  Quarto  "  me  par- 
dinato ")  ;  me  being  par- 
doned ;  I.  i.  25. 

Modesty,  moderation ;  Induct, 
i.  68. 

Mose  in  the  chine,  a  disease  in 
horses;  III.  ii.  50. 

Moved,  angry;  V.  ii.  142. 

Napkin,   handkerchief ;    Induct. 

i.  27. 
Neat,  ox;  IV.  iii.  17. 
News;     "what's     the    news?" 

what   does   this   mean?    I.   i. 

229. 

0/  =  for,  II.  i.  238;  on,  IV.  i. 

66;  V.  ii.  72. 
Old,     used     intensitively ;     cp. 


modern  phrase,  "  old  fellow," 

III.  ii.  30. 

On  =  of ;  IV.  i.  29. 
Orchard,  garden;  II.  i.  112. 
Or  ere,  before ;  IV.  v.  8. 
Other,  others ;  I.  ii.  121. 
Over-eyeing,     witnessing,     see- 
ing; Induct,  i.  95. 

Packing,  plotting;  V.  i.  114. 

Pain,  pains,  toil ;  III.  i.  12. 

Palabris;  "  paucas  pallabris  "  ; 
Sly's  corruption  of  the  Span- 
ish "  pocas  palabras,"  i.e.  few 
words ;  Induct,  i.  5. 

Pantaloon,  an  old  fool;  a 
standing  character  in  Italian 
comedy  (cp.  As  You  Like  It 
Glossary)  ;  III.  i.  2)7- 

Parle,  barley;  I.  i.  117. 

Pass,  convey    (a   legal   term)  ; 

IV.  iv.  45 ;  transact,  IV.  iv. 

57. 
Passing,  surpassing;  Induct,  i. 

67;  II.  i.  113. 
Peat,  the  old  form  of  "  pet " ; 

I.  i.  78. 
Pedant,   schoolmaster ;     IV.    ii. 

63. 

Pedascule,  pedant,  schoolmas- 
ter; III.  i.  50. 

Pheeze,  originally  "to  incite, 
send  forth,  drive  away," 
whence  probably  secondary 
meaning  "  to  beat,"  and  in 
certain  dialects  "  to  pay  a 
person  off  for  an  injury"; 
Induct  i.  I. 

Plash,  pool ;  I.  i.  23. 

Points,  tagged  laces  used  for 
fastening  various  parts  of  the 
dress;  III.  ii.  48. 


Glossary 


THE  TAMING 


Porringer,  a  bowl  or  basin;  IV. 
iii.  64. 

Port,  style  of  living;  I.  i.  207. 

Practise,  plot,  play  a  trick;  In- 
duct, i.  36. 

Prefer,  recommend ;  I.  i.  97. 

Present,  immediate;  IV.  iii.  5. 

Presently,  immediately;  IV.  iv. 

59. 

Pricks,  incites,  III.  ii.  74; 
"pricked  in,"  pinned  in,  stuck 
in.  III.  ii.  69. 

Proceeders;  perhaps  used 
equivocally;  to  proceed  Mas- 
ter of  Arts  is  the  academic 
term  for  taking  the  degree ; 
IV.  ii.  II. 

Proper,  handsome ;  I.  ii.  144. 

Put  -finger  in  the  eye,  weep  in 
a  childish  manner;  I.  i.  78. 

Quaint,  fine    (used  ironically), 

III.  ii.   147 ;   elegant,  IV.  iii. 

102. 
Quantity,  used  in  the  sense  of  a 

very  small  quantity;   IV.  iii. 

112. 

Rated,  driven  away  by  scold- 
ing; I.  i.  164. 

Rayed,  dirtied,  soiled;  III.  ii. 
53;  IV.  i.  3. 

Rebused;  Grumio's  blunder  for 
"  abused  "  ;  I.  ii.  7. 

Reckoning,  description;  IV.  i. 
82. 

Redime  te  captum,  etc.,  i.e. 
•'  Redeem  thyself,  captive,  for 
the  least  sum  thou  canst " ; 
quoted  from  Terence  in 
Lily's  Latin  Grammar, 
whence  the  writer  no  doubt 
derived  the  line;  I.  i.  166. 


Rests,  remains ;  I.  i.  249. 

Reverend,  reverent,  respectful; 
IV.  i.  199. 

Ring,  the  prize  ring;  I.  i.  144. 

Rope-tricks,  tricks  deserving 
the  halter;  Grumio's  word 
for  "  rhetoric "  cp.  the 
Nurse's  "  ropery  "  for  "  rogu- 
ery," Rom.  II.  iv.  154),  I.  ii. 
112. 

Roundly,  straightway,  directly, 
I,  i.  59;  bluntly.  III.  ii.  214; 
without  needless  ceremony, 
IV.  iv.  106;  used  with  a  play 
on  the  word,  V.  ii.  21. 

Rudeshy,  rude  clown ;  III.  ii. 
10. 

RufRing  {vide  note)  ;  IV.  iii. 
60. 

Rushes  strcived ;  referring  to 
the  old  custom  of  strewing 
the  floors  with  rushes;  IV.  i. 
46. 

Sack,  Spanish  or  Canary  wine; 
Induct,  ii.  2. 

Sadness,  seriousness;  "in  good 
s.,"  in  all  seriousness ;  V.  ii. 

Score ;  "  fourteen  pence  on  the 


122 


OF  THE  SHREW 


Glossary 


s," ;  Induct,  ii.  24,  reckoning, 
tally,  illustrated  by  the  fol- 
lowing portion  of  a  wood- 
cut representing  the  Festival 
of  the  Cobblers  of  Paris,  Au- 
gust  1st,    1641. 

Scrivener,  a  writer  of  con- 
tracts; IV.  iv.  59. 

Sealed  quarts,  quart  pots  sealed 
as  being  of  legal  size ;  In- 
duct, ii.    90. 

Secret,  confidential;  I.  i.  157. 

Seen;  "well  seen,"  well-skilled, 
skilful ;  I.  ii.  134. 

"  Seise  thee  that  list,"  i.e.  let 
them  take  thee  that  will ;  III. 

i.  91. 
Sessa;  "  probably  a  cry  used  by 

way    of    exhorting    to    swift 

running  "  ;  Induct,  i.  6. 
Sheathing,  having  a  new  sheath 

made  for  it ;  IV.  i.  130. 
Sheer   ale,   pure    ale,    unmixed 

ale ;  Induct,  ii.  25. 
Should;  when  the  priest  should 

ask,  i.e.  had  in  due  course  to 

ask;  III.  ii.  159. 
Shrezvd,  bad,  evil ;  I.  i.  184. 
Simple,  foolish ;  V.  ii.  161. 
Sith,  since ;  I.  i.  215. 
Skills,  matters;  III.  ii.  132. 
Skipper,    used    contemptuously 

for    frivolous    youth;    II.    i. 

341- 

Slipp'd,  started,  let  slip;  V.  ii. 
52. 

"Socrates'  Xanthippe"  (old 
eds.  "  Zentippe  "  and  "  Zan- 
tippe  )  ;  the  famous  shrew 
of  antiquity;  I.  ii.  71. 

Soud,  a  word  imitative  of  a 
noise     made     by     a     person 


heated  and  fatigued;  IV.  i. 
137. 

Sorted  to  no  proof,  proved  to 
be  to  no  purpose ;  IV.  iii.  43. 

So  very  =  so  great ;  I.  i.  127. 

Specialties,  special  deeds;  II.  i. 
127. 

Speed,  succeed;  I.  ii.  247. 

Spleen,  sudden  impulse  of 
mirth ;  Induct,  i.  137 ;  ill  tem- 
per, III.  ii.  ID. 

Spoke  =  spoken  ;   II.  i.  193. 

Stale,  laughing-stock ;  probably 
with  a  quibbling  allusion  to 
"  stale-mate  "  in  chess  ;  I.  i. 
58 ;  decoy,  bait ;  III.  i.  90. 

Stand,  withstand;  I.  ii.  113. 

Stay,  restrain;  Induct,  i.  134. 

Stead,  aid ;  I.  ii.  266. 

Still,  continually;  IV.  i.  202. 

Stock,  stocking;  III.  ii.  66. 

Stomach;  perhaps  a  play  upon 
the  two  senses  of  the  word, 
i.e.  "  appetite,"  and  "  choler  "; 
IV.  i.  153. 

Stoop,  yield;  a  technical  term 
in  falconry  for  coming  down 
on  the  prey ;  IV.  i.  186. 

Straight,  straightway,  immedi- 
ately ;  Induct,  i.  52. 

Strond  (so  all  the  old  editions, 
except  Folio  i,  which  reads 
"strand"),  strand;  I.  i.  174. 

Suits;  "in  all  suits,"  in  every 
respect ;  Induct,  i.  106. 

Supposes,  assumed  characters 
(cp.  Ariosto's'  "I  suppositi," 
trans,  by  Gascoigne  as  "  The 
Supposes")  ;  V.  i.  113. 

Sweeting,  a  term  of  Ciidear- 
ment ;  IV.  iii.  2>^. 


123 


Glossary 


THE  TAMING 


Swift,   quick,    with   play    upon 

the  word;  V.  ii.  54. 
Swinge,  lash;  V.  ii.  104. 

Ta'en;  "orders  .  .  .  ta'en," 
i.e.  given;  I.  ii.  126. 

Tall,  fine;  IV.  iv.  17. 

Tender,  tend;  Induct,  i.  16. 

Tents  and  canopies,  probably 
bed  hangings ;  II.  i.  354. 

Thirdborough  (  Folios  and 
Quarto  "  head  -  borough," 
Theobald's  correction),  con- 
stable ;  Induct,  i.  12. 

Throughly,  thoroughly;  IV.  iv. 
II. 

Took,  gave ;  III.  ii.  163. 

Toward,  at  hand,  I.  i.  68;  obe- 
dient, docile,  V.  ii.  182. 

Toy!  a  trifle,  nonsense!  II.  i. 
404. 

Trick,  toy,  trifle ;  IV.  iii.  67. 

Trot,  woman,  hag;  I.  ii.  79. 

Trunk,  broad,  large  ;  IV.  iii.  142. 

Turtle  =  turtle-dove  ;  II.  i.  209. 

Twangling,  twanging;  II.  i.  159, 

Tzvink,  twinkling;   II.  i.  312. 

Two-and  thirty,  a  pip  out;  "  an 
old  cant  phrase  applied  to  a 
person  who  was  intoxicated ; 
derived  from  the  old  game  of 
Bone-ace  or  One-and-Thir- 
ty";  pip  =  a  spot  or  mark 
on  a  card;  I.  ii.  33. 

Unable,  weak,   helpless ;   V.   ii. 

169. 
Unapt,  unfit ;  V.  ii.  166. 
Uncase,  undress;  I.  i.  21 1. 
Unconstant  =  inconstant ;      IV. 

ii.  14. 
Undertake,  assume;  IV.  ii.  106. 


Unmanner'd,  unmannerly ;   IV. 

i.  161. 
Unpink'd,  not  pinked  or  pierced 

with  eyelet  holes ;  IV.  i.  128. 
Unreverent,  disrespectful ;   III. 

ii.  112. 
Untoward,  unmannerly ;  IV.  v. 

79. 

"  Vail  your  stomachs,"  lower 
your  pride;  V.  ii.  176. 

Velure,  velvet ;  III.  ii.  61. 

Venice  gold,  i.e.  Venetian  gold, 
II.  i.  356. 

Vied,  challenged;  II.  i.  311. 

Wants,  are  wanting;  III.  ii.  246. 

Watch,  keep  from  sleep ;  a  term 
in  falconry ;  IV.  i.  190. 

Whatso'er,  at  any  rate ;  I.  ii. 
216. 

JVho;  "as  who  should  say,"  as 
if  to  say;  IV.  iii.  13. 

"Why,  when  I  say?"  an  ex- 
clamation of  impatience ;  IV. 
i.  138. 

Widowhood,  rights  as  a  widow  ; 
II.  i.  125. 

Will;  "  she  will,"  probably  an 
error  for  "  he  will  "  ;  other- 
wise "  will  "  should  perhaps 
be  "  shall  "  ;  I.  i.  188. 

"  Will  you,  nill  you,"  whether 
you  will  or  not;  II.  i.  273. 

Wincot;  probably  a  corruption 
of  Wilnecote  or  Wilmecot, 
about  three  miles  to  the  north 
of  Stratford ;  Robert  Arden, 
Shakespeare's  ^  grandfat  her, 
lived  there  (cp.  Woncot,  2 
Henry  IV.,  V.  i.  42)  ;  Induct, 
ii.  23. 


124 


OF  THE  SHREW 


Glossary 


Wish, commend;  Li.  113;  Lii.6o. 

With,  by;  IV.  iii.  in. 

Woodcock,  popularly  used  for  a 
fool;  I.  ii.  161. 

Workmanly,  workmanlike ;  In- 
duct, ii.  62. 

World;  "  'tis  a  world,"  i.e.  a 
wonder;  II.  i.  313. 


Yard,    yard    measure     (which 

used  to  be  made  of  wood)  ; 

IV,  iii.  113. 
Yellows,    jaundice    in    horses; 

III.  ii.  53. 
Yet,  still ;  Induct,  ii.  69. 
Yourself  =  you  yourself  ;   I.  ii. 

157. 


125 


THE  TAMING 


Critical  Notes, 


BY  ISRAEL  GOLLANCZ. 

Induct,  i.  9.  'Go  by,  Jeronimy' ;  a  popular  phrase  from  Kyd's 
Spanish  Tragedy — "  the  common  butt  of  raillery  to  all  the  poets 
in  Shakespeare's  time." 

Induct,  i.  17.  'Brack  Merriman' ;  'brack'  usualTy  means  a  fe- 
male hound,  as  in  the  next  line ;  the  sequence  of  thought  requires 
'  brack '  to  be  a  verb :  perhaps  it  is  used  in  the  sense  of  *  couple/ 
'mate.'  Hanmer  proposed  'leeck';  Keightley,  'batkc';  Singer 
(ed.  2)  '  trask'  etc. 

Induct,  i.  64.  '  And  he  says  ke  is'  etc.,  so  the  old  eds.     The  read- 


I 


The  accompanying  illustration,  from  a  stall  in  Ludlow  Church,  represents  the 
punishment  of  an  offender  of  Cicely  Hacket's  kind.  A  demon  (whose  head  )s 
missing)  is  carrying  the  ale-wife  with  her  gay  head-dress  and  false  measuie  to- 
wards hell-mouth  (on  the  right  of  the  picture),  while  two  other  demons  respec- 
tirely  play  bagpipes  and  read  the  catalogue  of  the  offender's  sins. 


OF  THE  SHREW  *  Notes 

ing  is  probably  correct ;  the  line  means  '  when  he  says  he  is  mad, 
say  that  he  dreams.'  Rowe  proposed  'And  when  he  says  he's 
poor' ;  Keightley  '  And  zvlicn  he  says  what  he  is,'  etc. 

Induct,  i.  88.  The  Folio  and  Quarto  prefix  '  Sincklo/  the  name 
of  an  actor  in  Shakespeare's  company,  who  is  mentioned  also  in 
stage-directions  of  Quarto  edition  (1600)  of  2  Henry  IV.,  V.  iv. 
and  in  the  Folio,  3  Henry  VI.,  III.  i. 

Induct,  i.  88.  '  Soto  '  is  a  character  in  Beaumont  and  Fletcher's 
Women  Pleased. 

Induct,  ii.  80. 

'  And  say  you  would  present  her  at  the  leet, 
Because  she  bought  stone  jugs  and  no  seal 'd  quarts.' 

I.  i.  32.  Cp.  The  Taming  of  A  Shrew.— 

'  Welcome  to  Athens,  my  beloved  friend. 
To    Plato's    school    and   Aristotle's    walks.' 

I.  i.  42.  'If,  Biondello,  thou  wert';  the  Collier  MS.  reads 
*  now  were ' ;  Dyce  adopts  this  emendation. 

I.  i.  64.  '  To  comh  your  noddle  with  a  three-legg'd  stool ' ;  an 
old  expression  occurring  in  Skelton's  Merrie  Tales.  "  Hys  wife 
would  divers  times  in  the  weeke  kimbe  his  head  with  a  iii.  footed 
stoole." 

I.  i.  239.  ' /,  sir!  ne'er  a  whit.'  Rowe  proposed  'Ay,  sir, 
ne'er,'  etc. ;  Dyce,  '  Ay,  sir. — Ne'er.'  It  is  difficult  to  determine 
whether  '  / '  is  the  personal  pronoun,  or  stands,  as  is  often  the 
case,  for  '  Ay.' 

I.  i.  253.  '  The  presenters,'  i.e.  Sly  and  his  attendants  in  the 
balcony  above. 

I.  ii.  28.  '  what  he  'leges  in  Latin  ' ;  the  Folios  and  Quarto 
'  leges,'  an  authorised  form  for  '  alleges ' ;  Grumio,  strange  to  say, 
though  an  Italian,  mistakes  Italian  for  Latin. 

I.  ii.  151-2.  'paper  .  .  .  them'  ;  changed  by  Pope  to  'pa- 
pers ' :  Mr.  Daniel  considers  '  paper '  to  be  the  note  of  the  '  books* 
and  '  them  '  the  books. 

II.  i.  75-84.  Arranged  as  verse  in  the  Folios  and  Quarto,  first 
printed  as  prose  by  Pope. 

II.  i.  202.  'No  such  jade  as  you';  probably  an  error  for  'no 
jade  for  such  as  you,'  as  conjectured  by  Hudson:  many  other  lesa 
obvious  emendations  have  been  proposed,  e.g.  'no  such  load  as 
you,  sir'  (Singer),  etc. 

127 


Notes  THE  TAMING 

11.  i.  207-9.  '  huszard '  in  this  passage  is  a  crux :  its  three 
senses  are,  I  think,  punned  on  by  the  speakers: — (i.)  a  sim- 
pleton (1,  207)  ;  (ii.)  a  mean  hawk  (11.  208,  209)  ;  in  the  lattei 
case  Petruchio  interprets  it  as  (iii.)  'a  buzzing  insect,'  hence  'you 
wasp'  (1.  210).  Katharine's  reply  seems  to  mean: — 'that,  in 
calling  her  a  turtle,  he  has  mistaken  a  hawk  for  a  dove ' ;  under- 
lying this  retort  there  may  be  a  suggestion  of  the  proverbial 
*  blind  buzzard.' 

II.  i.  296.  '  morn  ' ;  cp.  Troilus,  I.  iii.  229 : — 

*  Modest  as  morning  when  she  coldly  eyes 
The  youthful  Phoebus/ 

The  Collier  MS.  has  '  mo  one.' 

II.  i.  325.  *  We  will  have  rings  and  things'  probably  a  frag- 
ment of  an  old  ballad.  Collier  quotes  some  lines  bearing  a  very 
strong  resemblance  to  these  "  from  the  recitation  of  an  old  lady  " 
— a  vague  authority. 

II.  i.  ^yy.  '  Marseilles'  road  '  Folio  i  and  Quarto,  '  Marcelliis '  \ 
the  other  Folios  '  Marsellis' ;  the  word  is  obviously  trisyllabic; 
the  apostrophe  is  not  needed,  cp.  '  Venice  gold,'  '  Pisa  walls '  in 
the  previous  speech. 

III.  i.  4.  Theobald  proposed  '  she  is  a  shrew,  but,  wrangling 
pedant,  this  is';  evidently  some  words  are  lost,  but  it  is  useless 
to  attempt  the  restoration  of  the  line,  as  there  is  no  evidence. 

III.  ii.  16.  '  Make  friends,  invite,  and  proclaim  the  banns ' ;  so 
Folio  I  and  Quarto;  Folios  2  and  3  insert  'yes'  before  'and.' 
The  more  noteworthy  suggestions  are: — "Make  friends  invite, 
yes"  (Singer);  "make  friends  invite  guests"  (Dyce)  ;  "make 
feasts,  invite  friends"   (Dyce,  ed.  2). 

IV.  i.  135.  '  Where  is  the  life  that  late  I  led' ;  a  line  of  an  old 
song,  quoted  also  by  Pistol ;  cp.  2  Henry  IV.,  V.  iii.  147.  Simi- 
larly '  It  was  the  friar  of  orders  grey,'  etc.,  is  a  bit  of  an  old  ballad, 
now  lost. 

IV.  i.  203.  '  to  kill  a  wife  with  kindness,'  a  proverbial  expres- 
sion. Heywood's  play,  A  Woman  Killed  with  Kindness,  was 
first  produced  in  1602. 

IV.  ii.  45.  '  'longeth ' ;  the  Folios  and  Quartos,  correctly,  '  long- 
eth,'  without  apostrophe ;  '  to  long '  in  the  sense  of  '  to  belong ' 
is  common  in  older  English  writings.  Similarly  'pointed'  in  old 
eds.,  III.  ii.  I. 

IV.  ii.  61.  'An  ancient  angel';   so  the  Folios    and    Quartos; 

128 


or  THE  SHREW 


Notes 


Theobald  suggested  '  engle'  (a  gull)  ;  other  proposals  have  been 
ayeul,  gentle,  morsel,  antick,  etc.,  but  no  change  is  necessary. 
Cotgrave  renders  Angelot  a  la  grosse  escaille 
by  "  an  old  angell ;  and  by  metaphor,  a  fellow 
of  the  old,  sound,  honest  and  worthie  stamp." 
IV.  iii.  60.  '  ruMing  treasure ' ;  Pope  changed 
'  rutHing  '  to  '  rustling  ' ;  perhaps  we  should 
read  '  Tussling'  (for  'rustling'),  Cp.  Lear,  II. 
iv.  304,  where  the  Quarto  reading  is  '  russel,' 
while  the  Folios  have  '  ruMe.'    Mrs.  Quickly's 

*  rushling  in  silk  and  gold '  {Merry  Wives,  II. 
ii.  68)  seems  to  be  an  important  piece  of  evi- 
dence in  favour  of  '  rustling.' 

IV.  iii.  90.  'Here's  snip  and  nip  and  cut.' 
A  reference  to  fashionable  slashed  sleeves. 
(See  illustration.) 

IV.  iv.  62.  '  Cambio,'  probably  an  error  for 

*  Biondello,'  as  suggested  by  the  Cambridge 
editors,  and  more  satisfactory  from  a  metrical 
point  of  view.  Again,  "  the  supposed  Gambia 
was  not  acting  as  Baptista's  servant,  and  more- 
over, had  he  been  sent  on  such  an  errand,  he 
would  have  *  flown  on  the  wings  of  love '  to 
perform  it.  We  must  suppose  that  Biondello 
apparently  makes  his  exit,  but  really  waits  till 

the  stage  is  clear  for  an  interview  with  his  disguised  master." 

V.  i.  29.  *  his  father  has  come  from  Padua,'  so  the  Folios  and 
Quartos ;  various  changes  have  been  proposed,  e.g.  '  to  Padua,' 
'  from  Pisa,'  etc.,  but  the  Pedant  means  that  he  has  been  staying 
at  Padua, 


From  the  incised  slab 
to  the  memory  of 
Agnes  Woolley, 
1572,  preserved  at 
Matlock  Church. 


129 


THE  TAMING 


Explanatory  Notes. 

The  Explanatory  Notes  in  this  edition  have  been  specially  selected  and 
adapted,  with  emendations  after  the  latest  and  best  authorities,  from  the 
most  eminent  Shakespearian  scholars  and  commentators,  including  Johnson, 
Malone,  Steevens,  Singer,  Dyce,  Hudson,  White,  Furness,  Dowden,  and 
others.  This  method,  here  introduced  for  the  first  time,  provides  the  best 
annotation  of  Shakespeare  ever  embraced  in  a  single  edition. 

INDUCTION. 
Scene  I. 

[Enter  Hostess  and  Sly.]     The  opening  of  the  old  Taming  of  a 

Shrew  is  as  follows  : — 

Enter  a  Tapster,  beating  out  of  his  doores  Slie  Droonken. 

Tapster.  You  wliorson  droonken  slaue,  you  had  best  be  gone, 
And  empty  your  droonken  panch  some  where  else 
For  in  this  house  thou  shalt  not  rest  to  night.      Exit  Tapster. 

Slie.  Tilly,  vally,  by  crisee  Tapster  He  fese  you  anon. 
Fils  the  tother  pot  and  alls  paid  for,  looke  you 
I  doo  drinke  it  of  mine  owne  Instegation,  Omne  bene 
Heere  He  lie  awhile,  why  Tapster  I  say, 
Fils  a  fresh  cushen  heere. 

Heigh  ho,  heers  good  warme  lying.  He  fals  asleepe. 

Enter  a  Noble  man  and  his  men  from  hunting. 

Lord.  Now  that  the  gloomie  shaddow  of  the  night, 
Longing  to  view  Orions  drisling  lookes, 
Leapes  from  th'  antarticke  world  vnto  the  skie, 
And  dims  the  Welkin  with  her  pitchie  breath, 
And  darkesome  night  oreshades  the  chri stall  heauens, 
Here  breake  we  off  our  hunting  for  to  night ; 
Cupple  vppe  the  hounds  and  let  vs  hie  vs  home, 
And  bid  the  huntsman  see  them  meated  well, 
For  they  haue  all  derseru'd  it  well  to  daie. 
But  soft,  what  sleepie  fellow  is  this  lies  heere? 
Or  is  he  dead,  see  one  what  he  dootli  lacke? 

Seridngman.  My  lord,  tis  nothing  but  a  drunken  sleepe, 
His  head  is  too  heauie  for  his  bodie. 
And  he  hath  drunke  so  much  that  he  can  go  no  furder. 

130 


OF  THE  SHREW  Notes 

Lord.  Fie,  how  the  slauish  villaine  stinkes  of  drinke. 
Ho,  sirha  arise.    What  so  sound  asleepe? 
Go  take  him  vppe  and  beare  him  to  my  house, 
And  beare  him  easiHe  for  feare  he  wake, 
And  in  my  fairest  chamber  make  a  fire, 
And  set  a  sumptuous  banquet  on  the  boord. 
And  put  my  richest  garmentes  on  his  backe. 
Then  set  him  at  the  Table  in  a  chaire : 
When  that  is  doone  against  he  shall  awake, 
Let  heauenlie  musicke  play  about  him  still, 
Go  two  of  you  awaie  and  bear  him  hence. 
And  then  He  tell  you  what  I  haue  deuisde. 
But  see  in  any  case  you  wake  him  not.    Exeunt  two  with  Site. 

77,7^.  An't  please  your  honour,  etc.: — It  was  in  old  times  cus- 
tomary for  players  to  travel  in  companies  and  offer  their  services 
at  great  houses.    See  Hamlet,  II.  ii. 

102.  buttery: — Pope  remarks  that  "the  top  of  the  profession 
were  then  mere  players,  not  gentlemen  of  the  stage ;  they  were 
led  into  the  buttery,  not  placed  at  the  lord's  table,  or  the  lady's 
toilette." 

Scene  II. 

[Enter  aloft,  etc.]  According  to  the  original  stage  direction, 
Sly  and  the  other  persons  of  the  Induction  were  to  be  exhibited 
here,  and  during  the  representation  of  the  comedy,  in  a  balcony, 
where,  at  the  performance  of  a  play  within  a  play  the  mimic  spec- 
tators sometimes  sat,  while  the  action  was  carried  on  at  the  front 
of  the  stage.  In  the  middle  of  the  deep  stage,  according  to  Tieck, 
rose  two  wooden  pillars,  eight  or  ten  feet  high,  which  supported 
the  balcony.  Three  broad  steps  led  from  the  front  stage  to  the 
inner  alcove  under  the  balcony,  which  was  sometimes  open,  some- 
times curtained  off.  It  represented,  according  to  circumstances,  a 
cave,  a  room,  a  summer-house,  a  family  vault,  and  so  forth.  It 
was  here  that,  in  Macbeth,  the  ghost  of  Banquo  appeared  seated 
at  the  table.  Here  stood  the  bed  on  which  Desdemona  was 
smothered.  Here,  in  Hamlet,  the  play  within  a  play  was  acted. 
Here  Gloucester's  eyes  were  put  out.  On  the  balcony  above, 
Juliet  waited  for  her  Romeo,  and  Sly  took  his  place  to  see  The 
Taming  of  the  Shrew.  When  the  siege  of  a  town  had  to  be  repre- 
sented, the  defenders   of  the  walls   stood  and  parleyed   on  this 

131 


Notes  THE  TAMING 

balcony,  while  the  assailants  were  grouped  in  the  foreground. 
In  the  old  play  this  is  the  beginning  of  the  Scene : — 

Enter  two  with  a  table  and  a  banquet  on  it,  and  two  other  with 
Slie  asleepe  in  a  chaire,  richlie  apparelled,  and  the  musicke 
plaieng. 

One.  So :  sirha  now  go  call  my  Lord, 

And  tell  him  that  all  things  is  ready  as  he  wild  it. 
Another.  Set  thou  some  wine  vpon  the  boord 

And  then  He  go  fetch  my  Lord  presentlie. 

Enter  the  Lord  and  his  men. 

Lord.  How  now,  what  is  all  thinges  readie? 

One.  I  my  Lord. 

Lord.  Then  sound  the  musick,  and  He  wake  him  straight, 

And  see  you  doo  as  earst  I  gaue  in  charge. 

My  lord,  My  lord,  he  sleepes  soundlie :  My  Lord. 
Slie.  Tapster,  gis  a  little  small  ale.    Heigh  ho. 
Lord.  Heers  wine  my  lord,  the  purest  of  the  grape. 
Slie.  For  which  Lord? 
Lord.  For  your  honour  my  Lord. 

Slie.  Who  I,  am  I  a  Lord?    Jesus  what  fine  apparell  haue  I  got. 
Lord.  More  richer  farre  your  honour  hath  to  weare. 

And  if  it  please  you  I  will  fetch  them  straight. 
Wil.  And  if  your  honour  please  to  ride  abroad, 

He  fetch  you  lustie  steedes  more  swift  of  pace 

Then  winged  Pegasus  in  all  his  pride. 

That  ran  so  swiftlie  ouer  the  Persian  plaines. 
Tom.  And  if  your  honour  please  to  hunt  the  deere. 

Your  hounds  stands  readie  cuppeld  at  the  doore. 

Who  in  running  will  oretake  the  Row, 

And  make  the  long  breathde  Tygre  broken  winded. 
Slie.  By  the  masse  I  thinke  I  am  a  Lord  indeed. 

ACT  FIRST. 
Scene  I. 

2.  fair  Padua,  nursery  of  arts: — "During  the  ages,"  says 
Knight,  "  when  books  were  scarce  and  seminaries  of  learning  few, 
men  of  accomplishment  in  literature,   science,   and   art  crowded 

132 


I 


OF  THE  SHREW  Notes 

into  cities  which  were  graced  by  universities.  Nothing  could  be 
more  natural  and  probable  than  that  a  tutor,  like  Licio,  should 
repair  to  Padua  from  Mantua : — 

'His  name  is  Licio,  born  in  Mantua'; 

or  a  student,  like  Lucentio,  from  Pisa, 

'  as  he  that  leaves 
The'shallow  plash  to  plunge  him  in  the  deep  ' ; 

or  a  '  Pedant '  (IV.  ii.)  turning  aside  from  the  road  to  '  Rome  and 
Tripoly,'  to  spend  '  a  week  or  two '  in  the  great  '  nursery  of  arts  ' 
of  the  Italian  peninsula.  The  University  of  Padua  was  in  all  its 
glory  in  Shakespeare's  day;  and  it  is  difficult  to  those  who  have 
explored  the  city  to  resist  the  persuasion  that  the  Poet  himself 
had  been  one  of  the  travellers  who  had  come  from  afar  to  look 
upon  its  seats  of  learning,  if  not  to  partake  of  its  '  ingenious 
studies.'  There  is  a  pure  Paduan  atmosphere  hanging  about  this 
play;  and  the  visitor  of  to-day  sees  other  Lucentios  and  Tranios 
in  the  knots  of  students  who  meet  and  accost  in  the  '  public  places,' 
and  the  servants  who  buy  in  the  market ;  while  there  may  b'e  many 
an  accomplished  Bianca  among  the  citizens'  daughters  who  take 
their  walks  along  the  arcades  of  the  venerable  streets.  Influences 
of  learning,  love,  and  mirth  are  still  abroad  in  the  place,  breathing 
as  they  do  in  the  play. 

"  The  University  of  Padua  was  founded  by  Frederick  Bar- 
barossa,  early  in  the  thirteenth  century,  and  was,  for  several  hun- 
dred years,  a  favourite  resort  of  learned  men.  Among  other 
great  personages,  Petrarch,  Galileo,  and  Christopher  Columbus 
studied  there.  The  number  of  students  was  once  (we  believe  in 
Shakespeare's  age)  eighteen  thousand.  Now  that  universities 
have  multiplied,  none  are  so  thronged;  but  that  of  Padua  still 
numbers  from  fifteen  hundred  to  twenty-three  hundred.  Most 
of  the  educated  youth  of  Lombardy  pursue  their  studies  there, 
and  numbers  from  a  greater  distance.  '  The  mathematics  '  are 
still  a  favourite  branch  of  learning,  with  some  '  Greek,  Latin,  and 
other  languages';  also  natural  philosophy  and  medicine.  History 
and  morals,  and  consequently  politics,  seem  to  be  discouraged,  if 
not  omitted.  The  aspect  of  the  University  of  Padua  is  now  some- 
what forlorn,  though  its  halls  are  respectably  tenanted  by  students. 
Its  mouldering  courts  and  dim  staircases  are  thickly  hung  with 
the  heraldic  blazonry  of  the  pious  benefactors  of  the  institution. 
The  number  of  these  coats-of-arms  is   so  vast  as  to  convey  a 

133 


Notes  THE  TAMING 

strong  impression  of  what  the  splendour  of  this  seat  of  learning 
must  once  have  been." 

80.  Sister,  content  you,  etc.: — Clarke  says  of  Bianca :  "In  these 
very  first  lines  she  utters,  we  find  her,  under  appearance  of  a  mild 
appeal  to  her  sister,  really  uttering  an  uncharitable  insinuation 
that  Katharina  will  take  delight  in  her  being  sent  to  her  room — 
just  the  unkind  construction  that  would  peculiarly  gall  a  nature 
like  Kate's ;  and  then  she  goes  on  to  parade  her  ^cess  of  filial 
obedience  and  her  ultra-devotion  to  solitary  study.  Artful  and 
artificial  is  Bianca  from  first  to  last.  She  gains  herself  a  name 
for  gentleness  of  temper  by  making  a  foil  out  of  her  sister's 
violence  of  temper,  and  causes  herself  to  appear  charming  by 
forming  the  extremest  of  contrasts  with  Katharina's  conduct  in 
all  things." 

Scene  II. 

26.  Petrucio : — Gascoigne  in  his  Supposes  has  spelt  this  name 
correctly  Petrucio,  but  Shakespeare,  Anglicizing  it,  wrote  it  Pe- 
truchio,  in  order,  perhaps,  to  teach  the  actors  how  to  pronounce  it. 
So  Defc:ker  writes  InfelicJie  for  Infelice. 

69.  Florentius'  love: — This  allusion  is  to  a  story  told  by  Gower 
in  the  first  book  of  his  Confessio  Amantis.  Florent  is  the  name 
of  a  knight  who  bound  himself  to  marry  a  deformed  hag  provided 
she  taught  him  the  solution  of  a  riddle  on  which  his  life  depended. 
This  story  is  found  in  the  Gesta  Romanorum,  and  Chaucer's  Wife 
of  Bath's  Tale  has  the  same  plot. 

y2,'  74-  as  rough,  etc. : — The  Adriatic,  though  well  land-locked, 
and  in  summer  often  as  still  as  a  mirror,  is  subject  to  severe  and 
sudden  storms.  The  great  sea-wall  which  protects  Venice,  distant 
eighteen  miles  from  the  city,  and  built,  of  course,  in  a  direction 
where  it  is  best  sheltered  and  supported  by  the  islands,  is,  for 
three  miles  abreast  of  Palestrina,  a  vast  work  for  width  and  lofti- 
ness ;  yet  it  is  frequently  surmounted  in  winter  by  "  the  swelling 
Adriatic  seas,"  which  pour  over  it  into  the  Lagunes. 

ACT  SECOND. 
Scene  I. 

loi.  Greek  and  Latin  books: — Knight  says:  "It  is  not  to  be 
supposed  that  the  daughters  of  Baptista  were  more  learned  than 

134 


OF  THE  SHREW  Notes 

other  ladies  of  their  city  and  their  time.  Under  the  walls  of  uni- 
versities, then  the  only  centres  of  intellectual  light,  knowledge 
was  shed  abroad  like  sunshine  at  noon,  and  was  naturally  more 
or  less  enjoyed  by  all.  At  the  time  when  Shakespeare  and  the 
University  of  Padua  flourished,  the  higher  classes  of  women  were 
not  deemed  unfitted  for  a  learned  education." 

183.  Good  morrow,  Kate,  etc. : — We  find  in  the  old  play : — 

Feran.  Twentie  good  morrowes  to  my  louely  Kate. 
Kate.  You  iest  I  am  sure,  is  she  yours  alreadie? 
Feran.  I  tell  thee  Kate  I  know  thou  lou'st  me  well. 
Kate.  The  deuill  you  doo,  who  told  you  so? 
Feran.  My  mind  sweet  Kate  doth  say  I  am  the  man, 

Must  wed,  and  bed,  and  marrie  bonnie  Kate. 
Kate.  Was  euer  scene  so  grose  an  asse  as  this? 
Feran.  I,  to  stand  so  long  and  neuer  get  a  kisse, 
Kate.  Hands  oflf  I  say,  and  get  you  from  this  place ; 

Or  I  wil  set  my  ten  commandments  In  your  face. 
Feran.  I  prethe  doo  Kate;  they  say  thou  art  a  shrew. 

And  I  like  thee  the  better  for  I  would  haue  thee  so. 
Kate.  Let  go  my  hand  for  feare  it  reech  your  eare. 
Feran.  No  Kate,  this  hand  is  mine  and  I  thy  loue. 
Kate.  In  faith  sir  no.  the  woodcock  wants  his  taile. 
Feran.  But  yet  his  bil  wil  serue,  if  the  other  faile. 
Alfon.  How  now,  Ferando,  what  saies  my  daughter? 
Feran.  Shees  willing  sir  and  loues  me  as  hir  life. 
Kate.  Tis  for  your  skin  then,  but  not  to  be  your  wife. 

268.  Yes ;  keep  you  warm : — This  appears  to  allude  to  some  old 
proverb.  So  in  Much  Ado  About  Nothing,  I.  i.  66-68:  "If  he 
have  wit  enough  to  keep  himself  ivarm,  let  him  bear  it  for  a  dif- 
ference between  himself  and  his  horse." 

297.  Grissel: — The  story  of  Griselda,  so  beautifully  related  by 
Chaucer,  was  taken  by  him  from  Boccaccio,  through  Petrarch.  It 
is  thought  to  be  older  than  the  time  of  Boccaccio,  as  it  is  to  be 
found  among  the  old  French  fabliaux. 

311.  She  vied,  etc.: — Petruchio  appears  to  mean  that  Katharina 
played  as  for  a  wager  with  her  kisses,  vying  or  staking  kiss  on 
kiss  with  him. 

316.  unto  Venice: — "If  Shakespeare,"  says  Knight,  "had  not 
seen  the  interior  of  Italian  houses  when  he  wrote  this  play,  he 
must  have  possessed  some  effectual  means  of  knowing  and  real- 
izing in  his  imagination  the  particulars  of  such  an  interior.     Any 

135 


Notes  THE  TAMING 

educated  man  might  be  aware  that  the  extensive  commerce  of 
Venice  must  bring  within  the  reach  of  the  neighbouring  cities 
a  muhitude  of  articles  of  foreign  production  and  taste.  But  there 
is  a  particularity  in  his  mention  of  these  articles,  which  strongly 
indicates  the  experience  of  an  eye-witness.  The  '  cypress  chests,' 
and  '  ivory  coffers,'  rich  in  antique  carving,  are  still  existing,  with 
some  remnants  of  '  Tyrian  tapestry,'  to  carry  back  the  imagination 
of  the  traveller  to  the  days  of  the  glory  of  the  republic.     The 

*  plate  and  gold '  are,  for  the  most  part,  gone,  to  supply  the  needs 
of  the  impoverished  aristocracy,  who  (to  their  credit)  will  part 
with  every  thing  sooner  than  their  pictures.  The  'tents  and 
canopies,'  and  'Turkey  cushions  boss'd  with  pearl,'  now  no  longer 
seen,  were  appropriate  to  the  days  when  Cyprus,  Candia,  and  the 
Morea  were  dependencies  of  Venice,  scattering  their  productions 
through  the  eastern  cities  of  Italy,  and  actually  establishing  many 
of  their  customs  in  the  singular  capital  of  the  Venetian  dominion. 
After  Venice,  Padua  was  naturally  first  served  with  importations 
of  luxury.  Venice  was,  and  is  still,  remarkable  for  its  jewelry, 
especially  its  fine  works  in  gold.    '  Venice  gold '  was  wrought  into 

*  valence  ' — tapestry — by  the  needle,  and  was  used  for  every  variety 
of  ornament,  from  chains  as  fine  as  if  made  of  woven  hair,  to  the 
most  massive  form  in  which  gold  can  be  worn.  At  the  present 
day,  the  traveller  who  walks  round  the  Piazza  of  St.  Mark's  is 
surprised  at  the  large  proportion  of  jewellers'  shops,  and  at  the 
variety  and  elegance  of  the  ornaments  they  contain." 

326.  we  zvill  be  married  0'  Sunday: — Thus  in  Ralph  Roister 
Doister,  1566: — 

"  I  mun  be  maried  a  Sunday ; 
1  mun  be  maried  a  Sunday ; 
Whosoever  shall  come  that  way, 
1  mun  be  maried  a  Sunday." 

413.  An  adaptation  of  the  following  from  the  old  play  is  in- 
serted at  the  end  of  this  Scene  by  Pope  :— 

Then  Slie  speakes. 
Slie.  Sim,  when  will  the  foole  come  againe? 
Lord.  Heele  come  againe  my  Lord  anon. 
Slie.  Gis  some  more  drinke  here,  souns  wheres 

The  Tapster,  here  Sim  eate  some  of  these  things. 
Lord.  So  I  doo  my  Lord. 
Slie.  Here  Sim,  I  drinke  to  thee. 

136 


OF  THE  SHREW  Notes 

ACT  THIRD. 

Scene  I. 

41.  Now  let  me  see,  etc. :— ''  Here  we  see  Bianca  in  her  true 
colours,"  says  Clarke.  "  No  sooner  is  she  out  of  sight  of  her 
father  than  she  drops  the  coating  of  demure  paint  which  she 
wears  in  public  to  obtain  the  reputation  of  '  beauteous  modesty,' 
and  in  private  behaves  like  the  imperious  coquette  which  she  truly 
is.  She  begins  by  telling  her  masters  that  she  will  'learn  my 
lessons  as  I  please  myself ' ;  orders  one  aside  while  she  listens  to 
the  other ;  and  no  sooner  discovers  that  he  is  not  a  teacher,  but  a 
lover  in  disguise,  than  she  falls  into  his  plan  of  addressing  her 
clandestinely,  follows  his  lead  in  making  the  lesson  a  pretence 
for  discussing  his  suit ;  and  shows  herself  to  be  a  thoroughly  sly, 
artful  girl.     Shakespeare  has  drawn  her  consistently  throughout."' 

80.  nice: — Apparently  meaning  foolish,  simple,  or  triUing.  So 
in  Chaucer's  Wife  of  Bath's  Tale:  "But  say  that  we  ben  wise 
and  nothing  7iice."    Likewise  in  Gower : — 

"  A  tale  of  them  that  be  so  nice, 
And  feignen  them  selfe  to  be  wise." 

And  in  Romeo  and  Juliet,  V.  ii. :  ''  The  letter  was  not  nice,  but 
full  of  charge  of  dear  import." 

Scene  II. 

86.   [Enter  Petruchio.]     We  have  in  the  old  play  :— 

Enter  Ferando  baselie  attired,  and  a  red  cap  on  his  head. 
Feran.  Godmorrow  father,  Polidor  well  met, 

.    You  wonder  I  know  that  I  haue  staid  so  long. 
Alfon.  I  marrie  son,  we  were  almost  perswaded, 

That  we  should  scarse  haue  had  our  bridegroome  heere, 

But  say,  why  art  thou  thus  basely  attired? 
Feran.  Thus  richlie  father  you  should  haue  said. 

For  when  my  wife  and  I  am  married  once, 

Shees  such  a  shrew,  if  we  should  once  fal  out 

Sheele  pul  my  costlie  sutes  ouer  mine  eares. 

And  therefore  am  I  thus  attired  awhile. 

For  manie  thinges  I  tell  you's  in  my  head, 

137 


Notes  THE  TAMING 

And  none  must  know  thereof  but  Kate  and  I, 

For  we  shall  Hue  like  lammes  and  Lions  sure, 

Nor  Lammes  to  Lions  neuer  was  so  tame, 

If  once  they  lie  within  the  Lions  pawes 

As  Kate  to  me  if  we  were  married  once, 

And  therefore  come  let  vs  to  church  presently. 
Pol.  Fie  Ferando  not  thus  atired  for  shame 

Come  to  my  Chamber  and  there  sute  thy  selfe, 

Of  twentie  sutes  that  I  did  neuer  were. 
Feran.  Tush  Polidor  I  haue  as  many  sutes 

Fantasticke  made  to  fit  my  humor  so 

As  any  in  Athens  and  as  richlie  wrought 

As  was  the  Massie  Robe  that  late  adornd, 

The  stately  legate  of  the  Persian  King, 

And  this  from  them  haue  I  made  choise  to  weare. 
Alfon.  I  prethie  Ferando  let  me  intreat 

Before  thou  goste  vnto  the  church  with  vs 

To  put  some  other  sute  vpon  thy  backe. 
Feran.  Not  for  the  world  if  I  might  gaine  it  so, 

And  therefore  take  me  thus  or  not  at  all. 

170  et  scq. : — The  custom  of  taking  wine  and  sops  (wafers  or 
cakes  dipped  in  the  wine)  immediately  after  the  marriage  cere- 
mony in  the  Church  is  very  ancient.  It  existed  even  among  our 
Gothic  ancestors,  and  is  mentioned  in  the  ordinances  of  the 
household  of  Henry  VII.  "For  the  Marriage  of  a  Princess": 
"  Then  pottes  of  Ipocrice  to  be  ready,  and  to  bee  put  into  cupps 
with  soppe,  and  to  be  borne  to  the  estates ;  and  to  take  a  soppe 
and  drinke."  The  custom  was  practised  at  the  marriage  of  Philip 
and  Mary,  in  Winchester  Cathedral,  1554;  and  at  the  marriage  of 
the  Elector  Palatine  to  the  daughter  of  James  I.  in  1613.  In 
Jonson's  Magnetic  Lady  the  cup  is  called  a  knitting  cup  ;  in  Mid- 
dleton's  A^o  Wit  like  a  Woman's  the  contracting  cup.  The  kiss 
was  also  part  of  the  ancient  marriage  ceremony,  as  appears  from 
a  rubric  in  one  of  the  Salisbury  Missals. 

ACT  FOURTH. 
Scene  I. 

24,25.  beast,  etc.: — Grumio  calls  himself  a  beast,  and  Curtis 
one  also  by  inference  in  calling  him  fellow.     Grumio  is  think- 

138 


I 


OF  THE  SHREW  Notes 

ing  of  the  proverbial  saying,  "  Wedding,  and  ill-wintering,  tame 
both  man  and  beast." 

115.  Where  be  these  knaves? — The  following  is  from  the  old 
play  :— 

Enter  Ferando  and  Kate. 

Feran.  Now  welcome  Kate:  where's  these  villains 

Here,  what  ?  not  supper  yet  vppon  the  borde : 

Nor  table  spred  nor  nothing  don  at  all, 

Wheres  that  villaine  that  I  sent  before. 
San.  Now,  ad  sum,  sir. 
Feran.  Come  hether  you  villaine  He  cut  your  nose. 

You  Rogue :  helpe  me  of  with  my  bootes :  wilt  please 

You  to  lay  the  cloth?  sounes  the  villaine 

Hurts  my  foote  ?  pull  easely  I  say ;  yet  againe. 

He  beates  them  all. 
They  couer  the  bord  and  fetch  in  the  meate. 

Sounes?  burnt  and  skorcht  who  drest  this  meate? 
Will.  Forsouth  lohn  cooke. 

He  throwes  downe  the  table  and  meate  and  all,  and  beates 
them. 
Feran.  Go  you  villaines  bringe  you  me  such  meate, 

Out  of  my  sight  I  say,  and  beare  it  hence. 

Come  Kate  wele  haue  other  meate  prouided, 

Is  there  a  fire  in  my  chamber  sir? 
San.  I  forsooth.  Exit  Ferando  and  Kate. 

Manent  seruing  men  and  eate  vp  all  the  meate. 
Tom.  Sounes?     I  thinke  of  my  conscience  my  Masters 

Mad  since  he  was  maried. 
Will.  I  laft  what  a  boxe  he  gaue  Sander 

For  pulling  of  his  bootes. 

129.  no  link  to  colour  Peter's  /laf :— That  is,  to  blacken  it  anew. 
So  in  Mihil  Mumchance,  formerly  supposed  to  be  the  work  of 
Greene:  "This  cozenage  is  used  likewise  in  selling  old  hats  found 
upon  dunghills,  instead  of  newe,  blackt  over  with  the  smoake  of 
an  old  linke." 

140,  141.  Bishop  Percy  constructed  his  beautiful  ballad,  The 
Friar  of  Orders  Grey,  from  the  various  fragments  and  hints  dis- 
persed through  Shakespeare's  plays,  with  a  few  supplemental 
stanzas. 

149.  Come,    Kate,    and    zc'a.y/z :—"  Table-knives,"    accordmg    to 

139 


Notes  THE  TAMING 

Brandes,  "had  been  in  general  use  since  about  1563;  but  forks 
were  still  unknown  in  Shakespeare's  time — fingers  supplied  their 
place.  In  a  description  of  five  months'  travels  on  the  Continent, 
published  by  Coryat  in  161 1,  he  tells  how  surprised  he  was  to  find 
the  use  of  forks  quite  common  in  Italy :  '  I  obserued  a  custome  in 
all  those  Italian  Cities  and  Townes  through  which  I  passed,  that 
is  not  vsed  in  any  other  country  that  I  saw  in  my  trauels,  neither 
doe  I  thinke  that  any  other  nation  of  Christendome  doth  vse  it, 
but  only  Italy.  The  Italian  and  also  most  strangers  that  are 
commorant  in  Italy  doe  alwaies  at  their  meales  vse  a  little  forke 
when  they  cut  their  meate.  For  while  with  their  knife  which 
they  hold  in  one  hand  they  cut  the  meate  out  of  the  dish,  they 
fasten  their  forke  which  they  hold  in  their  other  hand  vpon  the 
same  dish,  so  that  whatsoeuer  he  be  that  sitting  in  the  company 
of  any  others  at  meale,  should  vnaduisedly  touch  the  dish  of  meate 
with  his  fingers  from  which  all  at  the  table  doe  cut,  he  will  giue 
occasion  of  offence  vnto  the  company,  as  hauing  transgressed  the 
lawes  of  good  manners,  in  so  much  that  for  his  error  he  shall  be 
at  the  least  brow-beaten,  if  not  reprehended  in  wordes.  .  .  . 
The  reason  of  this  their  curiosity  iS;  because  the  Italian  cannot 
by  any  means  indure  to  haue  his  dish  touched  with  fingers,  se- 
ing  all  men's  fingers  are  not  alike  cleane.'  We  see,  too,  that 
Coryat  was  the  first  to  introduce  the  new  appliance  into  his  na- 
tive land.  He  tells  us  that  he  thought  it  best  to  imitate  the  Italian 
fashion  not  only  in  Italy  and  Germany,  but  '  often  in  England ' 
after  his  return;  and  he  relates  how  a  learned  and  jocular  gen- 
tleman of  his  acquaintance  rallied  him  on  that  account  and  called 
him  '  Furcifer.'  In  one  of  Ben  Jonson's  plays.  The  Devil  is  an 
jIss,  dating  from  1614,  the  use  of  forks  is  mentioned  as  lately  im- 
ported from  Italy,  in  order  to  save  napkins.  We  must  conceive, 
then,  that  Shakespeare  was  as  unfamiliar  with  the  use  of  the 
fork  as  a  Bedouin  Arab  of  to-day." 

151.  Patience,  etc.: — "This  little  speech  of  Katharina's,"  says 
Clarke,  "  affords  an  evidence  of  what,  to  our  minds,  Shakespeare 
subtly  conveys  in  the  drawing  of  her  character — that  she  is  not  in- 
trinsically of  so  bad  a  nature  as  she  is  generally  supposed  to  be. 
Her  first  word  in  deprecation  of  her  husband's  violence  is  not  a 
complaint  for  herself,  but  is  uttered  on  behalf  of  another — a  serv- 
ant. Moreover,  she  finds  that  he  does  not  treat  her  roughly,  but 
does  all  avowedly  for  her  sake ;  also,  while  rating  and  raving  at 
others,  he  addresses  her  as  good,  szveet  Kate  and  szveet  Kate; 
thus  maintaining  the  impression  of  his  personal  regard  and  con- 

140 


OF  THE  SHREW  Notes 

sideration  for  her  amid  all  his  general  turbulence.  The  fact  is, 
that  Petruchio  practically  shows  Katharina  how  ugly  violent  tem- 
per, is  in  its  manifestations;  and  she  has  the  sense  to  read  the 
lesson,  and  take  its  teaching  home." 

i68.  both  of  us: — Clarke  bids  us  observe  "that  Petruchio — or 
rather  Shakespeare  through  him — well  knew  the  magic  power  of 
the  little  words  *  both  of  us,'  '  ourselves,'  '  we,'  in  a  husband's 
mouth  to  a  wife,  or  in  a  wife's  to  a  husband.  Likewise,  by  the 
kindly  ingenuity  of  making  Kate's  special  fault  his  own  as  well 
as  hers,  in  this  admission  that  they  both  would  do  well  to  try 
and  avoid  those  things  that  tend  to  foster  it,  Petruchio  adopts  one 
of  the  best  means  of  leading  to  its  cure,  and  of  inducing  her  to 
join  him  in  effecting  this.  Surely  Shakespeare's  subtlety  was  one 
of  his  finest  characteristics,  so  essentially  does  he  manifest  it  in 
his  moral  delineations." 

Scene  II. 

54.  the  taming-scJiool: — The  old  play  has  this  dialogue  here: — 

Val.     .     .     . 

But  tell  me  my  Lord,  is  Ferando  married  then? 
Aurel.  He  is:  and  Polidor  shortly  shall  be  wed, 

And  he  meanes  to  tame  his  wife  erelong. 
Vale.  He  saies  so. 

Aurcl.  Faith  he's  gon  vnto  the  taming  schoole. 
Vale.  The  taming  schoole;    why  is  there  such  a  place? 
Aurcl.  I :  and  Ferando  is  the  Maister  of  the  schoole. 

Scene  III. 

[Enter  Katharina.]     Here  the  old  play: — 

Enter  Sander  and  his  Mistres. 

San.  Come  Mistrls. 

Kate.  Sander,  I  prethe  helpe  me  to  some  meate, 

I  am  so  faint  that  I  can  scarsely  stande. 
San.  I  marry  mistris  but  you  know  my  maister 

Has  giuen  me  a  charge  that  you  must  eate  nothing, 

But  that  which  he  himselfe  giueth  you. 
Kate.  Why  man  thy  Maister  needs  neuer  know  it. 
San.  You  say  true  indede:    why  looke  you  Mistris, 

What  say  you  to  a  peese  of  beeffe  and  mustard  now? 

141 


Notes  •  THE  TAMING 

Kate.  Why  I  say  tis  excellent  meate,  canst  thou  helpe  me  to  some? 
San.  1,  I  could  helpe  you  to  some  but  that 

I  doubt  the  mustard  is  too  cholerick  for  you, 

But  what  say  you  to  a  sheepes  head  and  garlick? 
Kate.  Why  any  thing,  I  care  not  what  it  be. 
Saji.  I  but  the  garlicke  I  doubt  will  make  your  breath  stincke, 

and  then  my  maister  will  course  me  for  letting 

You  eate  it :    But  what  say  you  to  a  fat  Capon  ? 
Kate.  Thats  meate  for  a  King  sweet  Sander  helpe 

Me  to  some  of  it. 
San.  Nay  ber  lady  then  tis  too  deere  for  vs,  we  must 

Not  meddle  with  the  Kings  meate. 
Kate.  Out  villaine  dost  thou  mocke  me, 

Take  that  for  thy  sawsinesse. 

She  beates  him. 
San.  Sounes  are  you  so  light  fingerd  with  a  murrin, 

He  keep  you  fasting  for  it  this  two  daies. 
Kate.  I  tell  thee  villaine  He  tear  the  flesh  of 

Thy  face  and  eate  it  and  thou  prates  to  me  thus. 
San.  Here  comes  my  Maister  now  hele  course  you. 

Enter  Ferando  with  a  peece  of  meate  vppon  his  daggers  point,  and 
Polidor  with  him. 

Feran.  Se  here  Kate  I  haue  prouided  meate  for  thee 

Here  take  it  what  ist  not  worthie  thankes, 

Goe  sirra?  take  it  awaie  againe  you  shal  be 

Thankeful  for  the  next  you  haue. 
Kate.  Why  I  thanke  you  for  it. 
Feran.  Nay  now  tis  not  worth  a  pin  go  sirray  and  take  it  hence 

I  say. 
San.  Yes  sir  He  Carrie  it  hence :  Maister  let  her 

Haue  none  for  she  can  fight  as  hungrie  as  she  is. 
Pol.  I  pray  you  sir  let  it  stand,  for  He  eate 

Some  with  her  my  selfe. 
Feran.  Well  sirra  set  it  downe  againe. 
Kate.  Nay  nay  I  pray  you  let  him  take  it  hence, 

And  keepe  it  for  your  owne  diete  for  He  none, 

He  nere  be  beholding  to  you  for  your  Meate, 

I  tell  thee  flatlie  here  vnto  the  thy  teethe 

Thou  shalt  not  keepe  me  nor  feede  me  as  thou  list, 

For  I  will  home  againe  vnto  my  fathers  house; 

142 


OF  THE  SHREW  Notes 

Feran.  I,  when  you  'r  meeke  and  gentell  but  not 

Before,  I  know  your  stomack  is  not  yet  come  downe. 

Therefore  no  maruell  thou  canste  not  eate, 

And  I  will  goe  vnto  your  fathers  house ; 

Come  Polidor  let  vs  goe  in  againe, 

And  Kate  come  in  with  vs  I  know  ere  longe 

That  thou  and  I  shall  louingly  agree.  Ex  Omnes. 

25.  the  mustard  is  too  hot: — This  is  agreeable  to  the  doctrine 
of  the  times.  Thus,  in  The  Glass  of  Humours :  "  But  note  here, 
that  the  first  diet  is  not  only  in  avoiding  superfluity  of  meats,  and 
surfeits  of  drinks,  but  also  in  eschewing  such  as  are  obnoxious, 
and  least  agreeable  with  our  happy  temperate  state ;  as  for  a 
choleric  man  to  abstain  from  all  salt,  scorched,  dry  meats,  from 
mustard,  and  such  like  things  as  will  aggravate  his  malignant 
humours." 

47.  /  thank  you,  sir : — "  This,  and  her  previous  /  pray  you,  let  it 
stand,  excellently  depict,"  as  Clarke  observes,  "  the  half-sullen, 
half-passive  condition  that  comes  as  a  reaction  after  Katharina's 
late  relapse  into  an  outburst  of  petulance  and  wrath.  She  is  some- 
what ashamed  of  having  been  betrayed  into  it;  the  more  from 
finding  that  her  husband  himself  brings  her  the  food  she  hungers 
for.  Then  follows  another  outbreak,  upon  the  trial  to  womanly 
patience  at  hearing  well-fashioned  attire  disparaged  by  masculine 
ignorance  in  such  matters ;  but  even  this  subsides  before  the 
absurdity  as  well  as  violence  of  his  pretending  not  to  hear  her, 
and  flying  out  at  the  haberdasher  and  tailor;  and  it  is  her  last 
exhibition  of  temper.  She  perceives  her  mistake,  and,  like  a 
sensible  woman,  sets  about  her  own  cure  by  thenceforth  main- 
taining a  strict  guard  over  herself.  The  gradual  as  well  as 
quietly  indicated  way  in  which  this  is  done  bears  witness  to  Shake- 
speare's skill  in  mental  delineation ;  and.  indeed,  his  mode  of 
depicting  the  process  of  moral  reform  in  certain  of  his  characters 
is  one  of  his  most  wondrous  masteries." 

61.  Come,  tailor,  etc.: — Again,  in  the  old  play: — 

Enter  Ferando  and  Kate  and  Sander. 

San.  Mastet  the  haberdasher  has  brought  my 

Mistresse  home  hir  cappe  here. 
Feran.  Come  hither  sirra :   what  haue  you  there? 
Habar.  A  veluet  cappe  sir  and  it  please  you. 
Feran.  Who  spoake  for  it?   didst  thou  Kate? 

143 


Notes  THE  TAMING 

Kate.  What  if  I  did,  come  hither  sirra,  giue  me 

The  cap,  He  see  if  it  will  fit  me. 

She  sets  it  one  hir  head. 
Fcran.  O  monstrous,  why  it  becomes  thee  not, 

Let  me  see  it  Kate :   here  sirra  take  it  hence 

This  cappe  is  out  of  fashion  quite. 
Kate.  The  fashion  is  good  inough :    belike  you 

Meane  to  make  a  foole  of  me. 
Feran.  Why  true  he  meanes  to  make  a  foole  of  thee 

To  haue  thee  put  on  such  a  curtald  cappe, 

Sirra  begon  with  it. 

Enter  the  Taylor  with  a  gowne. 

San.  Doost  thou  heare  Taylor,  thou  hast  braued 

Many  men  :  braue  not  me. 

Thou  'st  faste  many  men. 
Taylor.  Well  sir. 
San.  Face  not  me  He  neither  be  faste  nor  braued. 

At  thy  handes  I  can  tell  thee. 
Kate.  Come  come  I  like  the  fashion  of  it  well  enough, 

Heres  more  a  do  then  needs  He  haue  it,  I 

And  if  you  do  not  like  it  hide  your  eies, 

I  thinke  I  shall  haue  nothing  by  your  will. 
Feran.  Go  I  say  and  take  it  vp  for  your  maisters  vse. 
San.  Souns  villaine  not  for  thy  life  touch  it  not, 

Souns  take  vp  my  mistris  gowne  to  his 

Maisters  vse? 
Feran.  Well  sir  whats  your  conceit  of  it. 

San.  I  haue  a  deeper  conceite  in  it  then  you  thinke  for,  take  vp  my 
mistris  gowne 

To  his  maisters  vse? 
Feran,  Tailor  come  hether ;  for  this  time  take  it 

Hence  againe,  and  He  content  thee  for  thy  paines. 
Taylor.  I  thanke  you  sir.  Exit  Taylor. 

Scene  IV. 

5.  Pegasus: — Shakespeare,  according  to  Steevens,  has  here 
taken  a  sign  out  of  London,  and  hung  it  up  in  Padua.  Clarke, 
however,  remarks  that  it  was  as  likely  to  be  used  in  Italy  as  in 
England. 

144 


OF  THE  SHREW  Notes 

Scene  V. 

2.  how  bright  and  goodly  shines  the  moon! — Here  the  old  play- 
has: — 

Feran.  Come  Kate  the  Moone  shines  cleare  to  night 
Methinkes. 

Kate.  The  moone?    why  husband  you  are  deceiued 
It  is  the  sun 

Feran.  Yet  againe  come  backe  againe  it  shall  be 
The  moone  ere  we  come  at  your  fathers. 

Kate.  Why  He  say  as  you  say  it  is  the  moone. 

Feran.  lesus  saue  the  glorious  moone. 

Kate.  lesus  saue  the  glorious  moone. 

Feran.  I  am  glad  Kate  your  stomack  is  come  downe, 
I  know  it  well  thou  knowest  it  is  the  sun, 
But  I  did  trie  to  see  if  thou  wouldst  speake, 
And  crosse  me  now  as  thou  hast  donne  before, 
And  trust  me  Kate  hadst  thou  not  named  the  moone, 
We  had  gon  back  againe  as  sure  as  death, 
But  soft  whose  this  thats  comming  here. 

Enter  the  Duke  of  Cestus  alone. 

Duke.  Thus  all  alone  from  Cestus  am  I  come. 

And  left  my  princelie  courte  and  noble  traine, 

To  come  to  Athens,  and  in  this  disguise, 

To  see  what  course  my  son  Aurelius  takes 

But  stay,  heres  some  it  may  be  Trauells  thether, 

Good  sir  can  you  derect  me  the  way  to  Athens! 

Ferando  speakes  to  the  olde  man. 

Faire  louely  maide  yoong  and  affable. 

More  cleere  of  hew  and  far  more  beautiful!, 

Than  pretious  Sardonix  or  purple  rockes, 

Of  Amithests  or  glistering  Hiasinthe, 

More  amiable  farre  then  is  the  plain 

Where  glistring  Ccpherus  in  silver  boures, 

Gaseth  vpon  the  Giant  Andromede, 

Sweete  Kate  entertaine  this  louely  woman. 
Duke.  I  thinke  the  man  is  mad  he  calls  me  a  woman. 
Kate.  Faire  louely  lady  brighte  and  Christalline, 

Bewteous  and  stately  as  the  eie  traind  bird, 

As  glorious  as  the  morning  washt  with  dew, 

145 


Notes  THE  TAMING 

Within  whose  eies  she  takes  her  dawning  beames, 

And  golden  sommer  sleepes  vpon  thy  cheekes, 

Wrap  vp  thy  radiations  in  some  cloud, 

Least  that  thy  bewty  make  this  stately  towne 

Inhabitable  like  the  burning  Zone 

With  sweet  reflections  of  thy  louely  face. 

Duke.  What  is  she  mad  to?  or  is  my  shape  transformd, 
That  both  of  them  perswade  me  I  am  a  woman. 
But  they  are  mad  sure,  and  therefore  He  begon, 
And  leaue  their  companies  for  feare  of  harme, 
And  vnto  Athens  hast  to  seeke  my  son.  Exit  Duke. 

Feran.  Why  so  Kate  this  was  friendly  done  of  thee. 
And  kindly  too,  why  thus  must  we  two  Hue, 
One  minde,  one  heart  and  one  content  for  both, 
This  good  old  man  dos  thinke  that  we  are  mad, 
And  glad  he  is  I  am  sure,  that  he  is  gonne, 
But  come  sweet  Kate  for  we  will  after  him. 
And  now  perswade  him  to  his  shape  againe.        Ex  Omnes. 

ACT  FIFTH. 
Scene  I. 

89.  Call  forth  an  officer : — Here  in  the  old  play  we  find  Sly  thus 
speaking : — 

Slie.  I  say  wele  haue  no  sending  to  prison. 

Lord.  My  Lord  this  is  but  the  play,  theyre  but  in  iest. 

Slie.  I  tell  thee  Sim  wele  haue  no  sending, 

To  prison  thats  flat :   why  Sim  am  not  I  Don  Christo  Vary  ? 

Therefore  I  say  they  shall  not  go  to  prison. 
Lord.  No  more  they  shall  not  my  Lord, 

They  be  run  away. 
Slie.  Are  they  run  away  Sim?  thats  well, 

Then  gis  some  more  drinke,  and  let  them  play  againe. 
Lord.  Here  my  Lord. 

Slie  drinkes  and  then  falls  asleepe. 

Scene  II. 

129.  The  more  fool  you,  etc. : — "  This  speech  of  a  bride,  a  wife 
of  a  few  hours'  old,  puts  the  climax,"  as  Clarke  thinks,  "to  the 

146 


OF  THE  SHREW  Notes 

delineation  of  Bianca's  character.  Shakespeare  has  drawn  her 
perfectly;  as  one  of  those  girls  superficially  thought  to  be  so 
*  amiable/  but,  when  thoroughly  known,  found  to  be  so  self- 
opinionated,  sly,  and  worthless." 

189.   [Exeunt.]     In  the  old  play  we  find  Sly  disposed  of  in  the 
following  manner : — 

Then  enter  two  bearing  of  Slie  in  his 
Owne  apparell  againe  and  leaues  him 
Where  they  found,  him,  and  then  goes  out. 
Then  enter  the  Tapster. 

Tapster.  Now  that  the  darkesome  night  is  ouerpast, 

And  dawning  day  appeares  in  chrystall  sky. 

Now  must  I  hast  abroad:   but  soft  whose  this? 

What  Slie  oh  wondrous  hath  he  laine  here  allnight, 

He  wake  him,  I  think  he's  starued  by  this, 

But  that  his  belly  was  so  stuft  with  ale, 

What  how  Slie,  Awake  for  shame. 
Slie.  Sim  gis  some  more  wine,  whats  all  the 

Plaiers  gon  :  am  not  I  a  Lord? 
Tapster.  A  lord  with  a  murrin :  come  art  thou  dronken  still? 
Slie.  Whose  this?    Tapster,  oh  Lord  sirra,  I  haue  had 

The  brauest  dreame  to  night,  that  euer  thou 

Hardest  in  all  thy  life. 
Tapster.  I  marry  but  you  had  best  get  you  home, 

For  your  wife  will  course  you  for  dreaming  here  tonight. 
Slie.  Will  she?   I  know  now  how  to  tame  a  shrew, 

I  dreamt  vpon  it  all  this  night  till  now, 

And  thou  hast  wakt  me  out  of  the  best  dreame 

That  euer  I  had  in  my  life,  but  He  to  my 

Wife  presently  and  tame  her  too. 

And  if  she  anger  me. 
Tapster.  Nay  tarry  Slie  for  He  go  home  with  thee. 

And  heare  the  rest  that  thou  hast  dreamt  to  night. 

Exeunt  Omnes. 


147 


THE  TAMING 


Questions  on 
The  Taming  of  the  Shrew. 


1.  Upon  what  old  play  is  this  present  one  of  Shakespeare  based? 

2.  How  has  Shakespeare  improved  on  the  original? 

3.  From  whom  did  he  take  the  suggestion  for  the  Induction? 
Mention  the  source  of  the  under  plot ;  of  the  Latin  lesson. 

INDUCTION. 

4.  Explain  the  purpose  of  the  Induction.  Is  it  thoroughly 
welded  with  the  play? 

5.  What  habit  of  Elizabethan  audiences  is  appropriated  to  the 
action  of  the  play? 

6.  How  does  Sly  answer  the  Hostess's  plea  that  he  pay  for 
broken  glasses?    What  humorous  characteristic  does  he  display? 

7.  What  comparison  is  implied  between  beast  and  man  in 
Sc.  i.? 

8.  With  what  purpose  does  the  Lord  undertake  the  jest  which 
he  plays  upon  Sly? 

9.  How  is  his  plan  further  elaborated  by  the  arrival  of  players? 
What  custom  of  Elizabethan  times  does  this  episode  of  the 
players  reflect? 

10.  Does  Sly  realize  the  Lord's  expectations?  How  is  Sly 
shown  a  braggart? 

11.  Is  the  vulgarity  of  Sly  any  worse  than  that  of  the  Lord? 

ACT  FIRST. 

12.  How  does  Shakespeare  characterize  Padua,  Lombardy, 
Pisa? 

13.  Who  was  Lucentio's  father?  What  had  been  Lucentio's 
education?    What  relaxation  did  he  seek? 

14.  How  is  he  answered  by  Tranio?  Explain  the  allusion  to 
Aristotle  and  Ovid. 

148 


OF  THE  SHREW  Questions 

15.  Who  enter  in  company  with  Baptista  and  his  two  daugh- 
ters? What  condition  has  he  set  to  the  marriage  of  Bianca? 
What  is  Litcentio's  first  impression  of  her? 

16.  How  do  Hortensio  and  Gremio  plan  to  overcome  the  ob- 
stacle in  the  way  of  their  addresses  to  Bianca?  How  does  Lu- 
centio  likewise? 

17.  What  is  Sly's  comment  on  the  play?  Describe  the  humour 
of  Shakespeare  s  characterization  of  the  Tinker. 

18.  What  hint  of  Petruchio's  character  do  you  get  from  his  en- 
counter with  his  man  Grumio,  Sc.  ii.? 

19.  Upon  what  mission  do  we  find  Petruchio  bent? 

20.  Does  his  extravagance  make  him  a  character  of  comedy  or 
of  farce? 

21.  What  plan  for  seeing  Bianca  does  Hortensio  make  with 
Petruchio? 

22.  Explain  the  allusion  (ii.  257,  258)  to  Hercules  and  Alcides. 

ACT  SECOND. 

23.  How  does  the  opening  of  this  Act  exhibit  Katharina? 

24.  Explain  the  expression  (i.  34)  lead  apes  in  hell.  In  what 
sense  does  Beatrice  use  it  in  Much  Ado  About  Nothing,  11.  i.  40? 
Does  not  Katharina  show  a  genuine  desire  to  marry? 

25.  How  does  Baptista  stipulate  that  Katharina  shall  be  won? 
How  does  Petruchio  describe  his  manner  of  wooing? 

26.  Is  the  scene  of  Katharina  beating  her  music  master  more 
humorous  in  the  telling  than  it  would  be  enacted  before  the 
spectators? 

27.  Describe  the  probable  manner  of  Katharina's  entrance  in 
the  first  Scene  after  line  182. 

28.  In  comparison  with  that,  show  the  humour  of  Petruchio's 
opening  of  the  dialogue  with  Katharina. 

29.  Was  Katharina  small  or  large?  Where  do  you  find  con- 
firmation of  your  view  ? 

30.  What  was  it  that  brought  Katharina  around  to  assent  to 
the  match? 

31.  What  form  of  betrothal  did  Baptista  use?    Was  it  English? 

32.  What  remarkable  examples  of  local  colour  does  this  Act 
contain?  From  this  and  The  Merchant  of  Venice  what  reasons 
do  commentators  find  to  believe  that  Shakespeare  travelled  in 
Italy? 

149 


Questions  THE  TAMING 

ACT  THIRD. 

S3.  Mention  some  tributes  in  this  and  other  plays  made  to  music. 

34.  Describe  the  scene  of  the  lessons. 

35.  What  is  the  cumulative  effect  of  Sc.  ii.? 

36.  When  does  the  taming  first  begin  ? 

37.  How  does  Shakespeare  here  and  elsewhere  refer  to  school? 

38.  Why  is  the  marriage-scene  not  enacted  in  the  sight  of  the 
spectators? 

39.  How  does  the  report  of  it  by  Grumio  assist  the  effect  of 
the  scene  immediately  following? 


ACT  FOURTH. 

40.  Indicate  the  dramatic  purpose  of  the  early  part  of  Sc.  i.,  car- 
ried on  between  Curtis  and  Grumio. 

41.  How  does  Katharina  take  the  part  of  the  servants  against 
Petruchio? 

42.  Describe  how  the  bride  and  bridegroom  finished  the  day  to- 
gether. 

43.  What  sporting  figure  does  Shakespeare  employ  in  Petru- 
chio's  soliloquy  at  the  end  of  Sc.  i.  ? 

44.  How  is  the  ground  abandoned  by  the  other  lovers  of  Bianca 
in  favour  of  Lucentio  ? 

45.  Whom  does  Hortensio  promise  to  wed?  How  does  this 
match  of  Hortensio  furnish  a  faint  shadow  of  the  main  plot? 

46.  For  what  purpose  is  the  Pedant  made  to  personate  Vin- 
centio? 

47.  In  what  other  play  does  Shakespeare  make  use  of  the  re- 
strictive laws  passed  by  Italian  cities  against  each  other?  How, 
in  this  one,  is  such  a  law  made  to  subserve  the  plot? 

48.  Explain  how  the  plight  of  Katharina  as  depicted  in  Sc.  iii. 
is  comic  and  not  pathetic? 

49.  What  sign  of  relenting  does  Petruchio  give  in  lines  50-60? 

50.  How  further  is  Katharina  tried? 

51.  What  stages  in  the  under  plot  are  accomplished  in  Sc.  iv.? 

52.  What  height  of  comic  absurdity  does  the  main  plot  reach  in 
Sc.  v.?     Is  this  the  climax  of  the  play?    Indicate  the  exact  point. 

53.  Show  how  all  the  threads  of  the  drama  are  drawn  together 
at  the  close  of  the  fourth  Act. 

I5«? 


OF  THE  SHREW  Questions 

ACT  FIFTH. 

54.  What  does  the  opening  of  this  Act  foreshadow? 

55.  How  do  the  real  and  the  counterfeit  fathers  of  Lucentio 
meet?     What  is  the  dramatic  purpose  of  this  parley? 

56.  Is  the  intrigue  of  the  under  plot  convincing?     Show  where- 
in it  is  weak. 

57.  Indicate  the  dramatic  nature  of  the  last  Scene. 

58.  What  wager  does  Petruchio  lay,  and  how  is  it  won? 


59.  Does  Petruchio  ever  show  genuine  ill  humour? 

60.  Does  this  play  convey  a  sense  of  reality? 

61.  Its  moral  is  obvious.     State  what  it  is. 

62.  Why  does  Sly  disappear  after  the  first  Act? 

63.  Which  of  the  characters  is  conceived  in  the  highest  spirit  of 
comic  art? 

64.  Is  there  any  evil  in  the  nature  of  Katharina  ? 

65.  In  comparison  with  Shakespeare's  other  comedies,  is  this 
noticeably  lacking  in  distinctly  poetic  qualities?  Assign  the  reason 
for  your  view. 


151 


UNIVERSITY  OF   CALIFORNIA-LOS   ANGELES 

mil  Hill  iiiii  mil  mil  mil  IP  nil  niiiiiiiii 


lllllllllllllllllll    ill  lull  nil 

L  009  978  313  6 


